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| Author: | SStallings [ Tue Nov 25, 2008 9:00 am ] |
| Post subject: | Chambering |
Can someone explain the purpose/advantages for chambering an electric. Obvious weight reduction. What else? Will it affect tone considerably? What affect does having an "F hole" have? I assume more than a decorative purpose. Thanks. |
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| Author: | JJ Donohue [ Tue Nov 25, 2008 10:49 am ] |
| Post subject: | Re: Chambering |
I have only chambered the LP type I made. I removed about 30% of the mahogany and it definitely is lighter and better balanced. I'm sure it affects sustain and tone but can't quantify. Perhaps others with more experience can chime in. As far as F-holes, they are definitely functional on an archtop, so I'm certain that there is also a tonal effect on a hollowed out electric such as Gibson 335 for example. One of the things I have always noticed...if a hollowed out guitar sounds good unplugged, it sounds great when amplified...assuming quality electronics and setup. So maybe our propensity for voicing acoustics will carry over and have a positive effect on the tonal qualities of electrics as well. |
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| Author: | SniderMike [ Tue Nov 25, 2008 12:33 pm ] |
| Post subject: | Re: Chambering |
From my experience, the more material you remove, the more effect it has. If you just take out a small amount on the outsides, you can lighten the guitar up, and not really hear any tonal differences. When you start taking a lot of material out, the tone seems to be a little warmer, and more resonant, and perhaps bassier. On some that I've chambered, I've noticed perhaps a bit less "clarity" too. On others, not so much. I've heard other people say they've experienced a loss of bass after chambering a guitar, so go figure. Of course these are totally subjective things, and again, just from my personal experience. |
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| Author: | Mattia Valente [ Thu Nov 27, 2008 6:28 am ] |
| Post subject: | Re: Chambering |
I'd call it a gain in the midrange and treble rather than a loss of bass (for my maple top - mahogany backed guitars). Lively, balanced, warm. Not terribly scientific descriptions, but there you have it. In my minimal 'testing', my impression is that a few large chambers have a greater tonal effect (described above) than something like the Warmoth approach with lots of tiny chambers, which mostly 'just' lightens up the guitar. No F holes mean easier to control feedback. |
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| Author: | Marc Lupien [ Thu Nov 27, 2008 11:08 pm ] |
| Post subject: | Re: Chambering |
I mostly build chambered electrics. I noticed that the chambering has different effects depending on the wood choice. On heavier woods such as maple and mahogany, the effect is mainly the weight reduction. On lighter woods (cedar, Douglas Fir) it tends to improve the tone by increase the natural "ringing" of the wood. In my experience anyway!!! I agree that larger chambers appear to be the way to go. When I design a chambered electric, I make sure that I leave some wood along the entire length of the body in line with the neck. I find that this improves the sustain. |
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| Author: | Wade Sylvester [ Fri Dec 05, 2008 12:04 pm ] |
| Post subject: | Re: Chambering |
My latest elec. 12 string is entirely chambered with “rail” extensions anchored at the neck block and tail. This provided a bit more tone unplugged and seemed to give it a “piano like” quality to it’s amplified tone. Although, once again, the usual disclaimers apply here as “tone” can be very subjective. Secretly, for me, it is a hope that a well crafted chamber will positively affect the speaker to strings feedback of the guitar. The player’s proximity to his or her amp becomes another variable to tone and sustain. Attachment: Jims3.jpg
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