Guitar tone chambers grpahics
There are many different types of tone chambers and all of them has the goal to lighten the instrument and to increase the volume of an instrument, delivering a more "acoustic", natural, full tone. Tone chambers design may vary from simple groups of holes (picture 3), to wide spaces carved inside the instrument's body to vary the wood "density" in order to achieve a distinctive tone.

THE RULE IS: a large number of small holes in the body will help to lighten the instrument, deliver good volume and maintain the original wood's tone (pics 1). The larger the tone chambers the more volume we will achieve and the less of the original body wood's tone will be maintained (pics 2 and 4).

The result is that if we want to keep the original tone of the wood we will have to drill more small holes rather than a larger one like in picture 1.



If as opposite, our goal is to increase the overall instrument's volume, we will have to use highly resonant woods, like for example ash, alder, basswood, and mahogany and recreate wide tone chambers in the internal part of the body. In this case we will have to take care not to weaken the wood in the points where strings tension is higher like, for example, under the bridge and in the neck insert area.

Chambered Frudua GFT-SHB with contoured top.

This is why most manufacturers often leave a solid center block inside the instrument which acts like a sort of "extension" of the neck which purpose is to keep the nut >> to >> bridge axe of the instrument as stiff as possible and, at the same time, to behave like a support for the bridge itself and the pickups.



Internal view of Frudua Carved Pro tone chambers.

Curiously there should be no reasons against a wider and correct use of tone chambers (especially for example like picture 1).

The reason this solution is not yet commonly used is most probably only the fact that it does not fit the classic traditional guitar building designs we have in mind since years.

� 2013 Galeazzo Frudua. All rights reserved

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