Looking at violins, I see that the f-holes are usually around the saddle, but on CBGs, they tend to be more toward the neck. Any ideas about how it might affect the sound to place f-holes kinda on either side of the saddle more like on a violin? Seems to make sense to me, but I don't know much. Endless experimentation. Now I see why you guys make so many of these. I think on the next one I make ...

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If you place the 'F' holes closer to the top [fretboard], the higher, treble notes come out. Lower and the bass notes come out.



Nah, just messing with ya. I don't see where it really matters tho I [and most i've seen here] usually do put them closer to the fretboard end. Keep in mind -- there are NO RULES. You can put them any where you want. I do think tho that the area matters for volume purposes. I usually put something in the area of a 1 3/4" diameter hole.

As an experiment, remove the lid (cut the paper hinge or remove the metal hinges) and replace the lid with a 1/4" pressboard (masonite) lid. cut holes in that in various ways and placements. That way, you can experiment and will save the original lid until you get the holes right where you want them. Pressboard should be cheap enough.

-WY
Wes is right: "no rules" is the way to go. Try one build one way, and another a different way: you might find that you like both, but for different purposes.
I think it only matters if you want the instrument to remain acoustic. In my opinion, when it's electric, the f holes help contribute to feedback more than anything. . .
On my cigar box I got a good sound without any hole, then I put a hole -- not in the front but on the thin rectangular side that I look down on. The sound seems still good. See, I wanted to leave the front face alone -- to let it vibrate. And I think f-holes might inhibit vibration somewhat by taking away a piece of the primary vibrating surface.
The F- holes on a violin perform double duty. In addition to allowing resonant sound to "come out" of the instrument, they also allow a portion of the soundboard to vibrate more freely in response to the strings. The "F" shape, around the bridge, is actually a fine bit of acoustic and structural engineering. There is internal bracing inside a violin that would make impractical almost any other sound hole shape. F-holes on archtop guitars are an attempt to utilize some of the same acoustic and structural principals. When we see F-holes on other types of guitars, or in other locations, it is mostly a stylistic carry-over and purely ornamental. So..., One could argue that some experimentation would certainly be worthwhile. Perhaps locating F-holes in a more violin-like fashion on a CBG would create an acoustic sweet spot in the soundboard. Damn it...! Now ya got me thinkin'.

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