roburado
Well-known member
Thanks for the update, BP.
- Thread starter Big Poppa
- Start date
Big Poppa
Well-known member
guys lets make sure that there is one ounce of humor when hijacking a thread.....so far I dont see it
lenny
Well-known member
Wowsers late to this thread.....but stunning none the less!!!!....thats some some crazy R&D going on at SLO ....i just wish i was goin to NAMM this year but my brother in law is going for the first time so i need to stay back at the store...next year fer sure....Lookin good BP i really love the carves!!!!
Slingy
Well-known member
I know squat about chambered guitars. Is the goal to get it to a certain weight or to get a particular sound, or both?
Warg Master
Well-known member
A little of both.
I would love to see the chambered come to fruition.... oh man that would be SWEEEEET!!!!
TonyEVH5150
Well-known member
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mb99zz
Well-known member
Ah...thanks!
Axistence
Well-known member
Nothing to say here, it's just a bump... this thread should be a sticky, it's that important! Please us BP and staff. more pics, more info, more!!!!!!!!!!
I'm already saving money for this...
I'm already saving money for this...
Spudmurphy
Well-known member
Here Hear !!
Colin
Well-known member
very funny
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koogie2k
Well-known member
Pops....I saw that you guys have tried a few of them chambered (correct?). My question is...with chambering does it take away from the sustain at all?
Of course I am no designer and I just a simple guy....but...with the more wood taken out it would "seem" like some resonance and sustain would be lost.
Believe me, you guys know what you are doing....it is just a question that popped up as I never played a "chambered" guitar.
Thanks.
Of course I am no designer and I just a simple guy....but...with the more wood taken out it would "seem" like some resonance and sustain would be lost.
Believe me, you guys know what you are doing....it is just a question that popped up as I never played a "chambered" guitar.
Thanks.
Spudmurphy
Well-known member
Hi Koogs
I think what people hope for in a "chambered" guitar is the best of both worlds.
For example when playing a semi acoustic guitar like a Gibbie 330/335 at gigging volume the guitar can give incredible sustain because you are walking the tightrope of going overboard into feedback. It's really nice when you can "dial in" a 335 at gigging volume. There again people would prefer the characteristics of a solid body which can have rich undertones.
I've yet to play a "chambered guitar" that I'm happy with having tried a couple of Fender Thinlines - with the F hole.
I guess (and it is a guess) is that Poppa's team have researched the different types of chambers and one of the pictures Poppa has posted is reminiscent of the Bose chambers - ya know those small little hi fi's that sound like a giant.
It's an interesting concept and one that I look forward to seeing the end result.
Just my (deflationary) two UK pennies worth.
I think what people hope for in a "chambered" guitar is the best of both worlds.
For example when playing a semi acoustic guitar like a Gibbie 330/335 at gigging volume the guitar can give incredible sustain because you are walking the tightrope of going overboard into feedback. It's really nice when you can "dial in" a 335 at gigging volume. There again people would prefer the characteristics of a solid body which can have rich undertones.
I've yet to play a "chambered guitar" that I'm happy with having tried a couple of Fender Thinlines - with the F hole.
I guess (and it is a guess) is that Poppa's team have researched the different types of chambers and one of the pictures Poppa has posted is reminiscent of the Bose chambers - ya know those small little hi fi's that sound like a giant.
It's an interesting concept and one that I look forward to seeing the end result.
Just my (deflationary) two UK pennies worth.
Big Poppa
Well-known member
Koogs I guess I dont have to answer.....
We dont know is the answer. THe first one we did was really exciting and what Spud said wasn't even a factor. We arent making a hollow bodied electric like a 330.....
What we have found and SPud correct me if I dont have this right (heheheheheheheh just working ya spud!) is that the chamering added resonance without sacrificing sustain as the tone block is there and so is the maple and the basswood. WHat we have is a guitar that felt alive for lack of a better word.
R and D is exciting and fun. In our company it is a process where we mix structured educated dont try this at home real engineering coupled with about 80 years of organic feel and instinct.
It is funny how the instinct becomes the tour guide for the evolutionary journey of bringing something different to the world.
If you don't allow the creative process to happen and dont encourage wide thought you cannot evolve. THere are several schools of thought on R and D. THe most common is a well targeted focused approach where you have specific design objectives....We rarely use that...WE use the biggest canvas and then bring it in to the center approach.
SO longwinded answer Koogs....I think that if you can improve/tune/focus resonance you can achieve tonal nirvana. getting the guitar to work as one is the challenge of our job. the chambering is adding an organic channelling of the guitars vibrations.
I sound like a whacked out hippie.
We dont know is the answer. THe first one we did was really exciting and what Spud said wasn't even a factor. We arent making a hollow bodied electric like a 330.....
What we have found and SPud correct me if I dont have this right (heheheheheheheh just working ya spud!) is that the chamering added resonance without sacrificing sustain as the tone block is there and so is the maple and the basswood. WHat we have is a guitar that felt alive for lack of a better word.
R and D is exciting and fun. In our company it is a process where we mix structured educated dont try this at home real engineering coupled with about 80 years of organic feel and instinct.
It is funny how the instinct becomes the tour guide for the evolutionary journey of bringing something different to the world.
If you don't allow the creative process to happen and dont encourage wide thought you cannot evolve. THere are several schools of thought on R and D. THe most common is a well targeted focused approach where you have specific design objectives....We rarely use that...WE use the biggest canvas and then bring it in to the center approach.
SO longwinded answer Koogs....I think that if you can improve/tune/focus resonance you can achieve tonal nirvana. getting the guitar to work as one is the challenge of our job. the chambering is adding an organic channelling of the guitars vibrations.
I sound like a whacked out hippie.
BP,
thanks for the post. that last section really got my curiousity goin'. I think that explains why I dig the guitars (and gear) that I do ... improve/tune/focus resonance=tonal nirvana.
off thread for a sec .... have had a few people ask lately about my Super Sport being chambered/semiacoustic .... was playin' thru some Mesa amps and the combination was very, very cool .... explained to the people askin' that it was the magic of basswood, maple, and the fine folks at EBMM
back to thread ... any more pics/thoughts/ideas about how the overall look of the final product will be?
cheers always, eh
Joel
koogie2k
Well-known member
Thanks Pops....that answered my question perfectly. Exciting times ahead.
Spudmurphy
Well-known member
Ha BP!!
Nah it's interesting to hear the philosophy behind the concept of building a chambered guitar.
I realised that it wasn't to be a semi acoustic but I guessed that the chambers would act like a semi acoustic but where would the sound/moving air go - I mean there would be no moving air if the cavity was filled? With the Thinlines they have the f hole of course, but I don't see one on your prototype.
As I see it and (I'm just a pen pusher not an engineer) sound would transmit differently through the cavity rather than through a solid lump of wood.
I am really interested to see how this pans out and look forward to (hopefully) seeing the next phase(s) if we are privy to it?
Nah it's interesting to hear the philosophy behind the concept of building a chambered guitar.
I realised that it wasn't to be a semi acoustic but I guessed that the chambers would act like a semi acoustic but where would the sound/moving air go - I mean there would be no moving air if the cavity was filled? With the Thinlines they have the f hole of course, but I don't see one on your prototype.
As I see it and (I'm just a pen pusher not an engineer) sound would transmit differently through the cavity rather than through a solid lump of wood.
I am really interested to see how this pans out and look forward to (hopefully) seeing the next phase(s) if we are privy to it?
Warg Master
Well-known member
WOOO!!!! I'm excited for this, whatever the result of the chambers.... I would love it with the chambers or without! WOOO!!!
I'm excited for this to enter production!
I'm excited for this to enter production!
Axistence
Well-known member
Bump.
Glenn |B)
Good call!
Axis 3.0 (or 5.0?) is coming... We want to know what's happening!... Please
Good call!
Axis 3.0 (or 5.0?) is coming... We want to know what's happening!... Please
Remember they are working toward a deadline, so let's be gentle.
Just bumping it for any scraps if there is time.
Glenn |B)
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