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That makes sense.✌️
Forgot to add, even if you think you're following the recipe to a t.
Shaping the bracing, I think, is a big one. It's not a precise science and builders often need to make a judgment about the shape and thickness of braces based on the thickness of the top, what characteristics of the top (which in itself, just the way it grew and developed, can influence the final result) they want to bring forward and probably multiple other things I've no idea about. @paulmcevoy75 can you chime in about this?
I figured that if you followed the mac blueprints that the bracing would be the same? Maybe the type of glue changes this as well?
The location is the same. It's the thickness, height and such that differs, that stuff has a big impact on the final product. And yes, some builders, and players, swear that the type of glue will influence the end product as well.
The sun, the moon, red wine intake (too much/too little, both could have positive or negative effects).
I guess if it was as easy as following some blue prints, then every selmer copy would be awesome. With that said, I like the imperfections on my guitar, gives it character.
there are thousands of little decisions to be made in making a guitar. Wood is not at all consistent in any way (it's the opposite of consistent). Glue is the least important variable.
The plans you are talking about describe a particular guitar made at a particular time by a particularly craftsman or group of craftsman. The plans reflect what they decided to do at that particularly time with the materials that were supplied. It might have been that the next instrument down the line was significantly different in its bracing (lighter or heavier) based on the the materials they were using.
So, no, first of all few people are probably making exact copies of the plans and even if they did each instrument would sound different.
Interesting. I imagine that you learn something new with each new guitar that you build.
Do you think it's possible to sonically replicate a 503, given enough time for analysis and the right materials, or are there just some mysteries that are to big to fully comprehend.
Do you think it's possible to sonically replicate a 503
Another question is: Would you want to if you could? Maybe that guitar has some sonic limitations based on its construction/bracing/wood selection/etc. that could be improved on in the 70+ years of knowledge and experimentation with luthiery? Just an alternate perspective.
For a couple of reasons I don't think it's an answerable question:
I think a lot of people are trying to get that "Django sound" or something thereabouts. But what is that sound? Are you talking about an almost brand new guitar made in the 1930s recorded on fairly primitive recording technology played by a unique virtuoso with a particular physical handicap? Or do you want the sound of that actual guitar recorded with modern recording equipment played by a current living virtuoso in the style?
Seeing that guitars change significantly as they age (in many ways for the better, but not in all ways), those are two different things.
There's a lot of practical evidence that in the hands of a really great player, even a pretty crappy factory guitar can sound amazing. And in the hands of someone who doesn't really have much skill, a great instrument doesn't sound hugely different from a bad one.
Certain makers seem to work very hard on making very precise copies of Selmer instruments and I think they are shooting to make them sound as similar as they can. To do that I think you need to have your hands on a lot of really high quality older instruments. But are they duplicating the sound of any particular instrument, you'd have to A/B one of theirs against an original Selmer and see for yourself but the major BUT is that you would be comparing an almost 100 year old instrument to a brand new one.
In the world of violin making there is more of a push to duplicate the sound of very old (>400 year) instruments and much energy and money goes into that pursuit. The financial rewards are much greater (I'm looking up the prices on Sam Z's auction instruments and these are instruments made in the last 20 years that cost ~$120k).
The margins on guitars are a lot less. Regardless to answer your question, duplicating the sound of an old instrument is a moving target. For me the answer is pretty much: guitars sound like guitars and you can probably get one to sound pretty close to whatever your target is given enough time and money.
I personally feel like the original Selmer design is fairly heavily built and somewhat muffled. I like the sound in general but I'd like to make instruments that share the sound profile but are clearer and more responsive. If someone was looking for a perfect Selmer copy they probably wouldn't want mine. But I think mine is going to be more fun to play, more versatile and is going to sound better to the audience.
As Billy Shakes says, we have some ideas about making guitars that weren't really available to the old guys. Their instruments are awesome and have the advantage of 100ish years of age and they were all geniuses in their own way. And I have great respect for people who build instruments that copy them but there are definitely other options.