Top carves
Curious if there is a general consensus on some questions.
I have been listening to many shoot outs and I noticed some sound a bit more metallic in the uppers while others are much more bell-like and various tones in between, some are clear all the way up the neck, some have strong mids, some have nice lows that don't get muddy some just don't sound as low.
I can not quantify the whys but some builders more consistently hit the same tone so I can only assume it has a lot to do with the carving process.
Is there any consistent thought on how you carve to achieve a voice you want? Is more or less flexibility on the treble side going to get you more tin or bell? is it the stiffness across the plate or along the plate neck to heel? What makes the bass muddy?
I am sure these are things everyone asks but I have seen no consistent reply. I have Dave Cohens papers in a book but I have not gotten more than a few pages into it yet. Feel free to disregard this post if it is too redundant but I think as more experienced builders build more they gain more insight so I was hoping someone might have some new comments. John Garrity was in the process of explaining to me via emails how his reflection tuning worked when he dropped off the face of the heart. Later I learned he passed so I never fully got the explanation but wonder if anyone else uses this measured approach to top plates? It could p[possibly benefit a new/less experienced builder for the simple fact that no two pieces of wood will flex the same. Thanks all! Once again I apologize if this is too redundant!
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