We have developed and optimised the for us most appropriate concepts from the wealth of existing soundboard designs and bracing systems that affect the sound of an instrument. This overview shows the bracing systems that we use.
BRACING SYSTEMS IN DETAIL
Asymmetrical fan bracing
Soundboard bracing created at our own workshop that doesn't require any doming or pre-tensioning. The asymmetrical arrangement of the struts and the sloping of the lower strut on the soundboard produces a greater balance between the bass and treble ranges. This method has over many years been demonstrated to be cost-effective with our high-quality Studio Line and Recital Line models.
The quality of the wood used plays an important role in this design.
Torres – domed fan bracing
A type of bracing system with domed soundboard that was developed by Antonio Torres (1817 – 1892). The struts have been made flatter behind the bridge and simultaneously stiffened in front of the bridge. This design is a response to the asymmetrical nature of the pressure and tension forces to which soundboards are exposed. The consequence is that it is considerably easier to work thus improving responsiveness (attack) and producing greater dynamics.
This bracing concept achieves a full and substance-rich sound.
Lattice – domed lattice bracing
A type of bracing that builds on a lattice structure and that was developed by Greg Smallman. Based on the fact that the strength of wood is squared with increasing thickness (twice the thickness = more than four times the flexural stiffness), this design contributes to the extreme reduction of the thickness of the soundboard. The thickness of the soundboard on our version is around 1.3 millimetres, which is a range that is technically important to resonance. This helps significantly reduce the soundboard's weight in this area.
The reduction in thickness produces a considerably faster response in conjunction with a greater range of dynamics without causing any corresponding losses in the substance of the tone. A balanced range of sound is thus achieved across all positions.
We have intensively tested and further developed the soundboard material's sandwich design that was introduced by Gernot Wagner and Matthias Dammann. This layered design uses an outer cedar soundboard that is only 0.6 millimetres thick. A nomex structure (ultralight aramid honeycomb) is used as the central section. The inner soundboard section is realised with a carbon fabric. The Torres method of bracing is used here.
This uncompromising lightweight design permits extreme volumes to be achieved. In conjunction with a perfect responsiveness and a superior balanced sound, it allows even the most difficult pieces from guitar literature to be performed with great expressiveness.
We came up with this soundboard version during the development of the double-top soundboard. Layers of varying materials in different thicknesses are combined here to achieve the flexural stiffness required to meet the demands of the resonating soundboard membrane. This design requires no soundboard bracing so that it is possible to reduce weight even further in important sections of the instrument.
The result is a clearly more fundamental tone with excellent dynamics and very good responsiveness. This design on our Fusion model with cutaway is particularly popular with all-round guitarists.