Rick and grumpy (Mario),
I have only built one guitar, though I have spent countless hours pondering, sketching, and pondering some more.
I'll admit that I was surprised that my Angelina guitar sounded more similar than dissimilar to a typical Martin style guitar. Again, that leads me to the conclusion that the volume and shape of the box are most important in capturing/creating the timbre that with our eyes closed is "guitar-like." However, my guitar does have sustain, clarity and power in the bass to mid bass that is better than a lot of guitars I have played.
Before I say anything else, I want to stand up and be counted as someone who does not believe in the myth of the perfect guitar. Why should there be a perfect guitar? You don't see golfers buying that one weird club with the movable clubhead to play golf. They derive pleasure in driving with a driver, selecting just the right loft to move the ball down the fairway or wherever else it landed, and putting with a putter. Further, some love Ping; some love Callaway... And that analogy makes sense to me for guitarists as well, especially professional musicians who can afford several instruments. So, why make Martin clones? Doesn't Martin make pretty good Martins?
Mario, I would challenge the notion of "nothing gained at all" if that guitar is not in the process of folding up and will not ever need a neck reset. That in itself is an accomplishment. I know that an adjustable neck can lay claim to the same thing, but isn't it true that this is still at the expense of a distorted top and/or the inability to optimize bracing? Other gains may be more subtle, and certainly the myriad soundboard bracing schemes, bridge engineering options, and other refinements not yet tried may well produce results even more obvious.
To be perfectly honest, how many different bracing patterns and bridge refinements have been used so far on these guitars (with tunnel bridge + tailpiece + suspended bracing)? I think there is a lot of area yet to explore, and I don't think that is true for refinements to the Martin style X-brace, with strings that stop at the bridge.
If nothing else, luthiers building hand-built instruments should take a look around at their fellow luthiers, and realize there are quite a few luthiers building superb instruments in the Martin tradition. An engineering style that differs from that might just have a chance in the market, and the subtle difference in sound may very well be "the perfect guitar" for a percentage of the buying public.
Dennis
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