X-braced design

In 2009 Model 12 ( photo on right)was used for the first X-braced proto-type which employed an elliptical soundhole to allow for the closed up X. This design was very successful and it occurred to me that it would work very well in the small- bodied model 08 (photo on left) with simplified strutting, where the long vibrating length of this design can be put to good effect in extending the bass response. A low air resonance similar to a larger fan-braced guitar can be easily achieved with this system - a small guitar with profound bass and great projection is the result. You also get considerable weight of note and sustain with this pattern, as well as an even response and excellent balance. It works extremely well with cedar as well as spruce, which is an added bonus. I recently made one using Port orford cedar ( a North American species of cypress), also with excellent results. Although most people associate an X - brace with modern steel-strung guitar production, according to James Westbrook's book " The century that shaped the guitar", the Roudhloff brothers were using an X-brace for their classical guitars back in the 1830s and 40s ! ( most things have been done before). Later Martin used a similar design in his 0-28 models that Julian Bream played in his youth.