Whoops - forgot about that damn thing. It's one piece I need to learn how to adjust; not the string height, but how it effects the guitar's fret intonation and where to trim / shim to fix that. I've at least two instruments with nut problems that effect the intonation. One is a Yamaha that I got but came without the nut. So I slammed some generic replacement in there, looked nut enough to me, and the intonation is so off I cant play the thing.
My son plays left. Quite an advantage on the used market, when trying to buy a gift for him. I've quit after getting him 3-4 nice guitars he doesnt really play.
Does anybody know of a bronze wound (80/20) set of acoustic guitars strings with all six strings wound? Is there such an animal? Note sure if it is possible.
I found a B (second string) wound with phosphor, but I prefer bronze. I also found a set of classical strings all wound, but I can't use these due to the nylon core.
If it can be done on nylon, why not on steel? Of course I am always trying to reduce the tinny (dink, dink) sound on the first and second string. Amplification does a great job, so pretty much solved there, but just acoustically not great. Pretty much the same issue with the highest key on a grand piano, pretty much useless, it sounds so bad. Maybe the laws of physics are ruling it out, but advancements happen, this would be a big one for the acoustic guitar.
I found a B (second string) wound with phosphor, but I prefer bronze. I also found a set of classical strings all wound, but I can't use these due to the nylon core.
If it can be done on nylon, why not on steel? Of course I am always trying to reduce the tinny (dink, dink) sound on the first and second string. Amplification does a great job, so pretty much solved there, but just acoustically not great. Pretty much the same issue with the highest key on a grand piano, pretty much useless, it sounds so bad. Maybe the laws of physics are ruling it out, but advancements happen, this would be a big one for the acoustic guitar.
<pant><pant> Where?
I got a pickup for that nylon core issue. I seen where the current admin is bollocksing up the fed so bad, that forget getting a patent - unless you dont mind sitting on your idea for maybe 4 years, while the now decimated workforce gets around to your disclosure's review. Oh well! I didnt want that and did the best I could to prevent it.
Back to the pickup. I've played with it several times now and its entirely viable. People far more experienced on guitar than me tell me it sounds good, albeit for sure different sounding than the usual piezo saddle or puck system. That's at prototype stage one too. The signal is a little weak, but I've got the parts to fix that in hand and just need to work on it, for a stage two prototype. Actually two different stage two attempts at improving the signal level for a typical acoustic guitar preamp output jack.
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JJ - keep us updated on your pickup idea, highly interesting to me. I was also wondering about how the Fed changes will affect the USPTO. I am still waiting for my fourth patent to be reviewed. I am pretty damn sure it will get "published" after (18) months, I filed it (15) months ago.
It gets published in (18) months due to federal law, which means pretty much nothing to me. I need granted, that is a legally issued patent.
I need to run, here is quick screen shot. Now I am wondering if these are nylon core and brass wound, or nylon wound, not sure, let me know what you find please.
It gets published in (18) months due to federal law, which means pretty much nothing to me. I need granted, that is a legally issued patent.
I need to run, here is quick screen shot. Now I am wondering if these are nylon core and brass wound, or nylon wound, not sure, let me know what you find please.
Windings increase the string "unit weight", twice the weight requires about double the tension at the same pitch.
You can buy a D'Addario bronze wound (80/20) .020, but the the string would probably break before it reached the 329.6Hz high E.
String windings on smaller strings may be ~ 1/2 the overall diameter, the BW020 ~a 0.01 core.
Windings on strings increase their unit weight, but the reduced inner core diameter can't take the tension of an unwound string of the same diameter.
A one octave increase in pitch requires 4 times the tension, using a BW020 for a high E would increase the tension from 14.4 pounds to ~57.6, about twice what it can handle, even if you (or the guitar neck) could.
You might want to use a separate pickup and EQ for the top two unwound strings, no laws of physics prevent that 😉
Art
The Savarez strings have a nylon wrap on on the G only; the B and E are clear. The 3 lowers are wound / wrapped in the "traditional" way. Funny, after clearly reading a table saying B and E are plain nylon, one reviewer says "I really like these strings especially the wrapped G and B strings". So ??
Let me make a little more progress on the pickup, see if I can move it more toward the expected signal level an ordinary player would want. Too bad acoustic guitars didnt all go to balanced output, like most stand microphones. I'd have plenty of level for that interconnect style. Maybe the phantom power would be workable too, eliminate the battery.
I thought I read space-x doesnt patent and for all I know its CEO maybe believes patents are a waste of time, as he crawls through the USPTO looking for "inefficiency". Well, maybe people wouldnt be constructing a raptor engine in their garage, so their idea is protected by the fact that you just cant do it easily, even with the plans.
My idea on the other hand, every little music parts shop in China with a glue gun would be assembling into sound hole mountable shells. Not that a US patent would help; it comes down to whoever could build it fastest, cheapest and markets the best gets most of the share. Maybe that's what the guy believes - and thinks the USPTO is a complete waste of gov'ment resources.
Let me make a little more progress on the pickup, see if I can move it more toward the expected signal level an ordinary player would want. Too bad acoustic guitars didnt all go to balanced output, like most stand microphones. I'd have plenty of level for that interconnect style. Maybe the phantom power would be workable too, eliminate the battery.
I thought I read space-x doesnt patent and for all I know its CEO maybe believes patents are a waste of time, as he crawls through the USPTO looking for "inefficiency". Well, maybe people wouldnt be constructing a raptor engine in their garage, so their idea is protected by the fact that you just cant do it easily, even with the plans.
My idea on the other hand, every little music parts shop in China with a glue gun would be assembling into sound hole mountable shells. Not that a US patent would help; it comes down to whoever could build it fastest, cheapest and markets the best gets most of the share. Maybe that's what the guy believes - and thinks the USPTO is a complete waste of gov'ment resources.
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Yeah I thought about that Art. My neck could handle it easy, a beast, the string, no way!
I like this idea regarding separate pickups, this could provide some serious benefits, something to consider.
You have to wonder if material science might improve the tensile strength of guitar strings eventually, then maybe it could happen. For now with amplification, A OK. Acoustically, tinny town remains! Personally, I believe this is the biggest weakness of all acoustic guitars. Not some, all. Including mine played without horns.
To JJ's point: Musk says most patents are B.S. and I think that is true. 90% of patents do not get commercialized, which just might include mine (I hope not).
50% of patent applications get rejected by the USPTO at review.
Say want you want about Musk, love him or hate him, the guy is a ******* genius, and that is a fact. He does have (28) patents himself, from what I see online, so obviously he thinks his patents are not B.S.
How would one know if a patent is B.S. until you try? Patents are tricky, and sometimes may not be worth getting, IF your product needs to move fast, and will become obsolete fast. Paying a Patent Attorney 20-25 grand for each patent is pretty spicy, not worth the cost for many people, including me.
In my case it makes sense, I am not doing tech that will be obsolete in five years. Learning how to write them myself was a bit of a bitch for the first patent, but after that kind of enjoyable, if you like technical/legal writing, basic research and design. For me personally it was a no brainer good idea, I am now protected and had some fun.
I could see how others would consider it not worth it, for various reasons, and I totally understand that. So if one asks me is getting a patent worth it?
My honest answer is: it depends (see above) 🤣
50% of patent applications get rejected by the USPTO at review.
Say want you want about Musk, love him or hate him, the guy is a ******* genius, and that is a fact. He does have (28) patents himself, from what I see online, so obviously he thinks his patents are not B.S.
How would one know if a patent is B.S. until you try? Patents are tricky, and sometimes may not be worth getting, IF your product needs to move fast, and will become obsolete fast. Paying a Patent Attorney 20-25 grand for each patent is pretty spicy, not worth the cost for many people, including me.
In my case it makes sense, I am not doing tech that will be obsolete in five years. Learning how to write them myself was a bit of a bitch for the first patent, but after that kind of enjoyable, if you like technical/legal writing, basic research and design. For me personally it was a no brainer good idea, I am now protected and had some fun.
I could see how others would consider it not worth it, for various reasons, and I totally understand that. So if one asks me is getting a patent worth it?
My honest answer is: it depends (see above) 🤣
I have the Acoustic Guitar Magazine digital Ad reserved now, will come out this month, this is just a screen capture, so not great quality:
Headline:
Meet the Inventor Revolutionizing the Acoustic Guitar
Body text:
Come learn about the ground-breaking Folded Horn Guitar, a double chamber guitar designed by engineer Joseph Katzenberger. This innovative guitar plays with rich bass, strong midrange and brilliant highs, providing more power than a standard acoustic guitar, without sacrificing the beautiful maple tone.
“Experience the Future here!” // Click through link: https://katzenberger-engineering.com/
Here is a current sample from AGM digital, I like it for many reasons, including the LR Baggs guitar, seems to be getting lots of press!
https://mailchi.mp/acoustic-guitar/acoustic-guitar-weekly-12162024?e=2f6799321c
JJ- any news or pics you care to share regarding your new pickup idea? No pressure. 🤣
Headline:
Meet the Inventor Revolutionizing the Acoustic Guitar
Body text:
Come learn about the ground-breaking Folded Horn Guitar, a double chamber guitar designed by engineer Joseph Katzenberger. This innovative guitar plays with rich bass, strong midrange and brilliant highs, providing more power than a standard acoustic guitar, without sacrificing the beautiful maple tone.
“Experience the Future here!” // Click through link: https://katzenberger-engineering.com/
Here is a current sample from AGM digital, I like it for many reasons, including the LR Baggs guitar, seems to be getting lots of press!
https://mailchi.mp/acoustic-guitar/acoustic-guitar-weekly-12162024?e=2f6799321c
JJ- any news or pics you care to share regarding your new pickup idea? No pressure. 🤣
Well, I got the preamps now and preamp / compressors I referred to in my post here with zero replies. It's just a matter of connecting half A to half B and empirically evaluating the result. Which I simply havent got around to yet. I played with the "passive" version - meaning no active preamp - last night, finding the performance and sound still acceptable; didnt feedback at all, this time. I feel the sound of it beats my ability to take advantage of it technically as a player, but my clumsy fingers do feel its opening the guitar's strings sound into new and different degrees of freedom. How's that for flowerly fluff?
I've got positive remarks from folks regarding the sound at the open mic. I sent a few songs I recorded with it to old friends from HS days and those guys seemed to like my rendition of "I know you rider" best. Neither asked "what kind of pickup are you using" so, I assume that indicates it's at least transparent enough to not get in the way.
I never post anything I play on social media, because I'm just not that good like so many others who do post their stuff actually are - and dont feel much like being ripped to shreds by all the animals (a band's name, remember?) out there. Nevertheless, the "1st gen" of the pickup can be heard here -
https://www.dropbox.com/scl/fi/nhoa...ey=qff0aorcp5e3jimmkv4iof11g&st=2w3aoc2n&dl=0
JJ - I would maybe turn the vocals down just a bit so you can hear more of the pickup. Also maybe more low end. It sounds good at the bottom, just need more in my opinion. Plus the highs sound a little tinny, but as you know that is something I focus on, maybe too much for others but not for me. Overall it sounds pretty good, keep going!
Revolutionizing the Acoustic Electric Guitar perhaps, but other than the screwed on sound board, not much different in your acoustic guitar from the standard.
I hear lots of amp clipping when you are playing the guitar, which is hardly a "beautiful maple tone" 😉 .
Fortunately, the lack of horn output above 2kHz does not amplify the upper harsh tones created from amp clipping.
You never play the same without the horns as with, but in the section from 8:36 to 9:17, the beginning of the "with horns" is played similar to "without".
This spectrograph shows those sections ranging from least SPL to most SPL, (blue, green, yellow, red, white) with the beginning at the top of the graph.
"With Horns" is obviously way louder below 1kHz, but no louder above ~2.5kHz.
Much of the output increase in the 1-2.5kHz range sounds like it's from clipping harmonics.🤣
After you become used to a ~10-20dB low-mid boost in an acoustic guitar sound, your perception of balance is altered.
JJ's guitar sound could benefit from compression and selective EQ, but I would not reduce the vocal level relative to the guitar.
Art
Thank you Godfather! I really appreciate how you and JJ are keeping this post interesting, so much to talk about.
I just want to remind everybody that I am NOT trying to sell my guitar, which of course is a functional prototype. I am trying to sell my IP or get a licensing deal. Do I think somebody else could do a better job with a Folded Horn Acoustic (electric) Guitar than myself, of course!
Personally I think Martin/Taylor...are acoustic guitars, I don't really care if they have electronics included or not. I think a Les Paul/SG/Strat is an electric guitar. Technically Art is correct of course, this is just my view. Will I consider calling it an Acoustic/Electric guitar in future Ads, sure will.
Now maybe you consider the horns part of the electric guitar and much different, and the top chamber is the acoustic part and very similar. Ok I get that, but I look at it as one system, very, very different. I do appreciate you saying "revolutionizing the acoustic/electric guitar perhaps" I will take it brother!
I really appreciate the data, very strong up to 2K, great! My Taylor drops way off after 2K, and my FHAG does as well, but not as much, why do you think this is a problem? Please advise!
Ok now for the clipping. Does my guitar clip at higher levels, sure. Sometimes I want it to do that, like playing slide, I want it to rock. An acoustic guitar is pretty lame on slide anyway, so I don't want to copy that. I admit that I clip at a much higher level with the mag pickup closer to the strings, much more headroom, and yes I wish I did that before my YouTube recording.
You say lots of clipping, not sure about that, I do hear some, but much is clean, man you need to hear it live. Now I play my FHAG, turn it up to 7-1/2 which is about 110 dB max at about 400 Hz, and it sounds so clean, very much acoustic, not clipping. I turn the horns off, turn them on...very very similar sound with more power, I just can't get this across on YouTube - yet. I need to make another video! I need one guy playing a Martin/Taylor pure acoustic into mics, then another guy playing my FHAG with the exact same chords/songs into the exact same mics, side by side, that should do it.
11:21 to 11:51 is my 9th chord progression, it is clearly the same with horns off and horns on, zero clipping in my opinion. I think a beautiful maple tone is accurate here, and much more so with Casey's playing. The best I heard was in the recording studio control room, man their equipment was great, and the sound was stunning to me, major beautiful maple tone.
Next time I will be the producer. I was not as involved as I would like to be, I mean this was the first time I was in a professional recording studio in my life. I was not going to walk in and tell people what to do, because I did not know! Now I have a much better feel for the process, this time I want to sit down with the team from start to finish, stay tuned!
I just want to remind everybody that I am NOT trying to sell my guitar, which of course is a functional prototype. I am trying to sell my IP or get a licensing deal. Do I think somebody else could do a better job with a Folded Horn Acoustic (electric) Guitar than myself, of course!
Personally I think Martin/Taylor...are acoustic guitars, I don't really care if they have electronics included or not. I think a Les Paul/SG/Strat is an electric guitar. Technically Art is correct of course, this is just my view. Will I consider calling it an Acoustic/Electric guitar in future Ads, sure will.
So Art having horns inside the acoustic guitar is not much different than a standard acoustic guitar? Give me a break, it is so much different, I think calling it revolutionary is not a stretch in any way. AGM called it revolutionary, and they got this from a quote on my website, that was quoted from diyAudio, which we then used. I never said it myself. I am pretty sure a magazine of this stature would not do this unless they believed it. I know they want to get the business, but they don't just print anything to get sales.
Now maybe you consider the horns part of the electric guitar and much different, and the top chamber is the acoustic part and very similar. Ok I get that, but I look at it as one system, very, very different. I do appreciate you saying "revolutionizing the acoustic/electric guitar perhaps" I will take it brother!
I really appreciate the data, very strong up to 2K, great! My Taylor drops way off after 2K, and my FHAG does as well, but not as much, why do you think this is a problem? Please advise!
Ok now for the clipping. Does my guitar clip at higher levels, sure. Sometimes I want it to do that, like playing slide, I want it to rock. An acoustic guitar is pretty lame on slide anyway, so I don't want to copy that. I admit that I clip at a much higher level with the mag pickup closer to the strings, much more headroom, and yes I wish I did that before my YouTube recording.
You say lots of clipping, not sure about that, I do hear some, but much is clean, man you need to hear it live. Now I play my FHAG, turn it up to 7-1/2 which is about 110 dB max at about 400 Hz, and it sounds so clean, very much acoustic, not clipping. I turn the horns off, turn them on...very very similar sound with more power, I just can't get this across on YouTube - yet. I need to make another video! I need one guy playing a Martin/Taylor pure acoustic into mics, then another guy playing my FHAG with the exact same chords/songs into the exact same mics, side by side, that should do it.
11:21 to 11:51 is my 9th chord progression, it is clearly the same with horns off and horns on, zero clipping in my opinion. I think a beautiful maple tone is accurate here, and much more so with Casey's playing. The best I heard was in the recording studio control room, man their equipment was great, and the sound was stunning to me, major beautiful maple tone.
Next time I will be the producer. I was not as involved as I would like to be, I mean this was the first time I was in a professional recording studio in my life. I was not going to walk in and tell people what to do, because I did not know! Now I have a much better feel for the process, this time I want to sit down with the team from start to finish, stay tuned!
Horns using amplification inside an acoustic guitar make it an electric guitar, which of course is different than a standard acoustic guitar.
Revolutionary means "constituting or bringing about a major or fundamental change".
The fundamental change or "revolution" of amplifying acoustic instruments occurred more than 100 years ago.
Putting speakers in guitars is not a new idea.
Nor is putting horn speakers in a guitar, Reiner 5000 Köln Trimborn's 1982 Application DE3203844A "Electric guitar with built in speaker and horn" is functionally identical (with the exception of your hollow body portion) to your latter design.
The timbre (harmonic structure) of every acoustic instrument, including your Taylor or un-amplified FHAG have distinct attributes.
Your horn amplification only functions over ~ half the range of an acoustic guitar.
As an instrument, that amplified alteration of the acoustic sound is just a timbre variation, similar to the difference between a Fender Rhodes and a Steinway grand piano.
In that respect, it's timbre is not a problem, but as far as reinforcement the actual sound of an acoustic guitar, it fails above ~2kHz.
The tonal response of your guitar may not present any problem in your attempt to secure a licensing deal.
Oh yes, I remember that guitar Art, pretty damn cool horn design in my opinion, shown at the bottom of this page. When I search the Reiner 5000 patent, my patent comes up as a "family to family" citation, meaning not a direct citation, so similar yes. As you note mine has a hollow body portion, and is an acoustic/electric guitar. The Reiner 5000 is only an electric guitar, in my opinion, a very big difference. I have found other electric guitars with speakers and chambers/waveguides as discussed on this thread, but zero acoustic/electric guitars with horns.
I am pretty sure if one existed, the USPTO would not have granted me a patent. Plus I believe he used a mic, and maybe had feedback issues, I mean this was (40) years ago. His patent expired due to lack of fee payment that is required, so my guess is he did not think it was worth keeping alive. I guarantee you I will make all my patent renewal payments, I have faith. 🤣
I totally think the timbre and tone of this guitar are right on the money, when I play it, all smiles, and I assure you if it sounded like ****, I would be the first one to beat myself up about it.
It is definitely brilliant, and more about 2k might actually hurt the sound, I will take it.
Plus as I noted before, the sound above 2k rolls of just like any other acoustic guitar does, and not quite as much, so I think that is very good.
Also JJ the reason I say vocals may be too high, is that all your highest dB are vocals, but maybe you want it that way.
I don't ever do guitar and singing in my testing, so my experience is pretty limited in this area, just an observation.
I don't ever do guitar and singing in my testing, so my experience is pretty limited in this area, just an observation.
15 is the "pickup tray".
18 is the microphone in the horn mouth to pick up sound for recording, or external reinforcement. That arrangement would not have any more feedback issues than a mic in front of any other guitar amp speaker- the mic is not used to pick up the string sound.
27 is an electronic amplification device to provide amplification or other effects.
43 years ago, "other effects" didn't really include a decent convolution of a magnetic pickup sound to emulate an acoustic instrument, that can be done pretty effectively now.
Joe, no question the FHAG's acoustic sound has similar timbre to a thin maple top hollow body guitar.
You have previously confirmed through measurement the folded horns provide little (undistorted) output much above ~1200 Hz, and that is easy to see in the spectrographs of you playing the FHAG with various levels of amplification with distant mics in the studio.
Fine you think that is good, but don't fool yourself thinking horns that add +5 to 20 dB up to ~1200Hz, but little or nothing above is a reinforcement of an acoustic guitar sound.
Put a recording mic in position 18 in your FHAG, and you will hear it is an electric guitar sound.
Art
Art - I still wonder why the Reiner 500 patent was abandoned, I would have enjoyed getting a chance to listen to the guitar. I don't see dimensions, but the overall body does seem smaller, and the top is just as thick as the back and sides, so likely not an acoustic soundboard that can vibrate freely. I still think the horn design is very cool, but it only has one speaker. I played my guitar with one speaker before (by mistake), it just does not quite cut it, two really does the trick, at least in my guitar.
I agree that a mic at position 18 (the mouth of my horns) will give much more of an electric sound than the top of my soundboard, for sure.
I also agree that per your data the sound tapers off above 2k, which my data also showed. What I do know for sure is when I am rocking on this guitar is gives me a sound that I am very happy with...maybe not too strong above 2k is a blessing. I mean it does show more power for sure in this area, just not as much of an increase as the 100 Hz to the 1200 Hz range. When I play a chord up at the 12 fret area, it sounds very brilliant and clean, plenty of sparkle, at least for my ears. No visit to tinny town, really enjoyable.
I am not saying I can get this to a YouTube listeners ears 100% (God only knows what people are using on their end to listen), but when it is my acoustic/electric guitar, the room, and my ears, man good things are coming at me beyond what I ever expected, it is quite the listening and playing experience. Again, turn off the horns and I almost bust out laughing at the difference, it is great. I feared feedback, I feared tinny town, I feared lack of warm bass, I feared many different things might happen, and to my great surprise, (after testing and improving of course) I have my sound, and it is time to advertise it.
Personally I think saying a guitar has horns assumes it has drivers and and amp included, how else could it work. Maybe I am assuming too much for some people and should use the electric/acoustic term more often as you note, I am not trying to mislead anybody.
Now timbre, that is quite an interesting topic. Why does a grand piano sound different than a guitar or a cello playing the same note at the same frequency at the same volume level, all being stringed instruments with a soundboard, one of the beautiful aspects of music for sure. Obviously instrument shape and material play a large roll. If the string is plucked, picked, hammered or bowed also is big, other details of course.
There are many areas of my guitar coming together to produce what I believe is a unique timbre. How do the horns interact with the acoustic soundboard? Not just the sound outside the guitar, but inside as well. How does this affect resonance and sustain (a very strong feature of this guitar). How does the much larger (3" longer) and light yet strong soundboard (solid bracing, not glued) play a part. How does the overall sound and strong sustain affect the soundboard?
If I want to, I can turn it up just a bit too loud for my taste, but a good experiment: the guitar will sustain pretty much forever. You can actually see the strings starting to vibrate even more (especially if not fingered) without even touching them, try that with an acoustic guitar. I tried this with an acoustic guitar through an amp also, it does not do the same thing. My guitar is unique and has its own timbre that is hard to describe unless you hear it live, and better yet play it!
Anyway sorry to drone on...maybe I am just getting ready for the onslaught of questions (I hope) that advertising will bring, from people seeing and hearing this guitar for the first time. Fingers crossed, I hope it does not bomb! 🤣
I agree that a mic at position 18 (the mouth of my horns) will give much more of an electric sound than the top of my soundboard, for sure.
I also agree that per your data the sound tapers off above 2k, which my data also showed. What I do know for sure is when I am rocking on this guitar is gives me a sound that I am very happy with...maybe not too strong above 2k is a blessing. I mean it does show more power for sure in this area, just not as much of an increase as the 100 Hz to the 1200 Hz range. When I play a chord up at the 12 fret area, it sounds very brilliant and clean, plenty of sparkle, at least for my ears. No visit to tinny town, really enjoyable.
I am not saying I can get this to a YouTube listeners ears 100% (God only knows what people are using on their end to listen), but when it is my acoustic/electric guitar, the room, and my ears, man good things are coming at me beyond what I ever expected, it is quite the listening and playing experience. Again, turn off the horns and I almost bust out laughing at the difference, it is great. I feared feedback, I feared tinny town, I feared lack of warm bass, I feared many different things might happen, and to my great surprise, (after testing and improving of course) I have my sound, and it is time to advertise it.
Personally I think saying a guitar has horns assumes it has drivers and and amp included, how else could it work. Maybe I am assuming too much for some people and should use the electric/acoustic term more often as you note, I am not trying to mislead anybody.
Now timbre, that is quite an interesting topic. Why does a grand piano sound different than a guitar or a cello playing the same note at the same frequency at the same volume level, all being stringed instruments with a soundboard, one of the beautiful aspects of music for sure. Obviously instrument shape and material play a large roll. If the string is plucked, picked, hammered or bowed also is big, other details of course.
There are many areas of my guitar coming together to produce what I believe is a unique timbre. How do the horns interact with the acoustic soundboard? Not just the sound outside the guitar, but inside as well. How does this affect resonance and sustain (a very strong feature of this guitar). How does the much larger (3" longer) and light yet strong soundboard (solid bracing, not glued) play a part. How does the overall sound and strong sustain affect the soundboard?
If I want to, I can turn it up just a bit too loud for my taste, but a good experiment: the guitar will sustain pretty much forever. You can actually see the strings starting to vibrate even more (especially if not fingered) without even touching them, try that with an acoustic guitar. I tried this with an acoustic guitar through an amp also, it does not do the same thing. My guitar is unique and has its own timbre that is hard to describe unless you hear it live, and better yet play it!
Anyway sorry to drone on...maybe I am just getting ready for the onslaught of questions (I hope) that advertising will bring, from people seeing and hearing this guitar for the first time. Fingers crossed, I hope it does not bomb! 🤣
You could make one, right up your alley! It would be an electric, with the "horn path" body interior, instead of solid. I realize there's only so much time in a life...
A mere re-arrangement of your two speakers could leave you with both feeding into one horn. The remaining space taken by the second horn could be used for mucho battery, amp - etc. A far shorter horn taking part of that remaining space could be then implemented, with a 3rd driver, to better cover those frequencies in the 1k - 10 decade. The 3rd driver / shorter horn combo would use likely a different driver than what you're currently using.
I have a feeling many here and elsewhere have built a HiFi speaker that combines a tuned length excited by one speaker and a much shorter horn flare driven by another. That's the obvious way to do it, if there's any audio FR performance driven reason to deviate. As I've mentioned before, I hope nobody can simply skip over your IP with a so-called "improvement" patent, that merely mimics a common transmission line loudspeaker with a separate tweeter, but rolled up into an acoustic guitar body shape. Perhaps your grant has it all covered.
The guitar may never have been built, the electronic amplification/battery compartment located at the neck attachment point looks wrong, as does the horn expansion. The patent covers various horn types, so the diagrams may not indicative of an actual "working model".
That would be similar to your patent claiming it is "made to produce an acoustic, pure, beautiful sound..achieved with two AA batteries...Everything above the chamber divider is the upper chamber. This is where the microphone is placed, to capture the true acoustic sound of the guitar...Acoustic guitars with pickups underneath the strings sound inferior..."
Obviously, the voltage and power provided by two AA batteries wouldn't come close to providing 20+ watts for any usable time period, and a microphone is virtually useless due to gain before feedback limitations in close proximity to the speakers.
Didn't stop your patent going through 😉
Very limited market for speakers in guitars, the Reiner 500 patent was probably abandoned because it generated no commercial interest.
It could work using the same principle of an acoustic phonograph.
Rather than the horn's diaphragm being vibrated by a needle's movement tracking a record groove, the mechanical energy from the bridge could be used.
Resophonic guitars use the same principle, but lack horn loading, which could increase level by another 10-20dB.
Some of my early sound memories were listening to a wind-up Edison C-250 acoustic phonograph, it was a lot louder than a Spanish acoustic guitar, but not as loud as the Leslie speaker in the living room.
SonnyPhono claims average levels of over 100dB, and peak levels of 132dB at 1 foot from the C-250 horn:
I didn't have a dB meter back when listening to the C-250, but I don't doubt Sonny's readings.
At any rate, no question that a proper horn design (or a tweeter horn) could easily extend the top end of your FHAG, allowing the top end timbre to match that of an acoustic guitar, at a much louder level.
And tweeter horns could be pointed where the player wants the sound directed.
Art