The 'bracing' reinforces the soundboard so it can withstand the tension from the pull of the strings. It also influences the sound of the guitar by controlling how the soundboard vibrates in response to the energy from the strings. Many different bracing patterns are used in an attempt to shape the sound. The bracing I'm using here is very traditional, going back to Torres, and modified slightly by Hauser.
The photo below shows the braces in position, but not yet glued. (A lot of work went into shaping these little 'sticks' from a wedge of spruce!)
The sounboard is clamped to the solera (workboard) and the hide glue is being heated. One function of the solera is to achieve the doming of the soundboard in the lower bout. The solera is dished out in this area, and when the fan braces are glued onto the soundboard they are pressed into the solera, forming the dome.
Here the braces have been glued and clamped, forcing the soundboard into the solera. You can see bits of the hide glue which was squeezed out when clamped. Hide glue cleans up easily because when it cools a bit, and before it dries, it peels right off.
All of the braces cannot be glued on at once. After gluing, the braces are carved to the proper shape, then other braces are glued on and carved.
more brace shaping...
more brace gluing...
Finally, all of the braces are glued on and shaped, and the soundboard is completed.
Next, the soundboard is glued to the neck. But first a shelf has to be created at the end of the neck so the soundboard will be level with the neck.
After some very careful measuring to insure proper allingment, the neck is glued to the top.
It's getting closer to being a guitar!
Next post: The Sides
where to by sound board top clasical tonanti
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