Acoustic stringed instrument body with partially tapered soundboard bout

Abstract

A soundboard for a musical instrument having a body, a back plate and a side plate, wherein the soundboard, back plate and side plate define a sound cavity of the musical instrument. The soundboard extends along a longitudinal axis and has a thickness. The soundboard further has a partial tapered reverse curvature disposed asymmetrically about the longitudinal axis. The reverse curvature comprises a first reverse curvature segment, a second reverse curvature segment and a third reverse curvature segment, wherein the first reverse curvature segment forms a downward slope starting flush with the thickness of the soundboard, the second reverse curvature segment defines a full depth of the partial tapered reverse curvature, and the third reverse curvature segment forms an upward slope ending flush with the thickness of the soundboard. A musical instrument comprising the soundboard is also disclosed. The musical instrument can be a guitar.

Description

[0001] CROSS-REFERENCE TO RELATED APPLICATIONS

[0002] This application claims priority to U.S. Provisional Patent Application No. 62 / 904,196, filed on September 23, 2019, and U.S. Non-Provisional Patent Application No. 17 / 016,986, filed on September 10, 2020, the contents of which are incorporated herein by reference. Technical Field

[0003] The present invention relates generally to soundboards for stringed instruments such as guitars, and more particularly to soundboards including a partially tapered recurvature that follows an asymmetrical path. Background Art

[0004] Music plays a vital role in our daily lives and is woven into the fabric of society. Many people pursue music as a pastime, hobby, or profession. Stringed instruments, a major branch of musical instruments, produce sound through one or more vibrating strings stretched between two points. Stringed instruments, particularly stringed instruments, are extremely popular worldwide due to their versatility and suitability for various musical genres. Perhaps the most popular stringed instrument is the modern guitar, including both acoustic guitars, which produce sound through acoustics, and electric guitars, which produce sound through electrical amplification.

[0005] Traditional acoustic and electric guitars consist of a body and a neck, attached to the body by a joint, with one or more elongated, flexible strings extending along the fretboard between the body and the distal end of the neck. (The terms "distal" or "end" are used to define the portion or surface of an element farthest from the user.) The body has a top surface, called the soundboard, typically made of wood, which vibrates when the instrument is played. To provide the instrument with the most pleasant tone, the soundboard is typically tapered or feathered, tapering toward its edges to allow for greater (freer) movement relative to the instrument's sidewalls. Consequently, the soundboard gradually tapers from its center toward the perimeter. However, thinning the soundboard is difficult and time-consuming, often requiring hours of hand-sanding by skilled craftsmen (luthiers) to create a visually subtle taper at the edges (i.e., the surface of the soundboard preferably has a flat appearance). Errors in the taper can result in uneven tapers or undesirably thin sections, leading to cracking and breakage.

[0006] Therefore, one disadvantage associated with traditional soundboards is the difficult and time-consuming process of thinning the soundboard. Another disadvantage is the high cost of tapering the soundboards of high-quality instruments. Another disadvantage associated with traditional soundboards is the use of wood as the soundboard material. Wood soundboards tend to swell in humid conditions, resulting in changes in visual appearance and sound quality. Furthermore, in dry conditions, wood soundboards may crack.

[0007] U.S. Patent No. 6,759,581, entitled "Acoustic Stringed Instrument Body with Relief Cut," issued to Taylor-Listug, Inc., attempts to address the shortcomings highlighted above. As the title suggests, an acoustic stringed instrument body is provided that includes a soundboard having symmetrical relief cuts around its periphery. The relief cuts are located on either the outer or inner surface of the soundboard and near the periphery of that surface. However, the relief cuts may be located elsewhere, including closer to the sound holes. The relief cuts superficially create a more flexible connection between the soundboard and the sidewalls of the instrument, which manifests as an improvement in the timbre of the instrument by allowing the soundboard to vibrate more freely. The relief cuts in the soundboard are also intended to allow the wooden soundboard to stretch and contract due to changes in atmospheric conditions.

[0008] According to the patent disclosure, the time-consuming process of tapering the soundboard surface is replaced by a localized unloading cutout. Figure 1 , a dashed line 45, which follows the outline of the soundboard 30, exists within the perimeter of the soundboard 30. This dashed line 45 represents the approximate location of the relief cuts 100, 110, 120, 130, 140, and 150 on the soundboard 30. The cross-sectional area of ​​the relief cuts 100 can vary along the soundboard 30, and the relief cuts 100 can also have different shapes and sizes. However, the soundboard with relief cuts disclosed in the '581 patent requires the soundboard to return to its full thickness at the surface where the soundboard is glued to the sides.

[0009] In view of the above shortcomings, there is a need for an acoustic instrument soundboard that does not require its own taper to achieve good sound quality. There is also a need for a wooden acoustic instrument soundboard that is robustly designed to withstand changes in atmospheric conditions, such as humidity and temperature levels. There is also a need for a soundboard that achieves optimal tone, especially when combined with other components of the instrument. Summary of the Invention

[0010] To meet these and other needs and overcome the shortcomings of existing designs, a soundboard is provided that includes a partially tapered recurve. One object of the present disclosure is to allow greater flexibility in key areas of the soundboard. A related object is to produce desired tonal effects for an instrument having the soundboard. Another related object is to allow tonal optimization based on the body shape of the instrument having the soundboard. Yet another object is to target specific areas of the soundboard to maximize desired tonal effects. Yet another object of the present disclosure is to allow selection of the width and location of relief areas on the soundboard.

[0011] To achieve these and other objects, and in view of its purpose, the present disclosure provides a soundboard for a musical instrument having a body, a back panel, and side panels, wherein the soundboard, back panel, and side panels define a sound cavity of the instrument. The soundboard extends along a longitudinal axis and has a thickness. The soundboard also has a partially conical inflection portion arranged asymmetrically about the longitudinal axis. The inflection portion includes a first inflection segment, a second inflection segment, and a third inflection segment, wherein the first inflection segment forms a downward slope that starts flush with the thickness of the soundboard, the second inflection segment defines the full depth of the partially conical inflection segment, and the third inflection segment forms an upward slope that ends flush with the thickness of the soundboard. A musical instrument including the soundboard is also disclosed. The musical instrument can be a guitar.

[0012] It is to be understood that both the foregoing general description and the following detailed description of the present invention are exemplary and not restrictive. BRIEF DESCRIPTION OF THE DRAWINGS

[0013] The present disclosure is best understood from the following detailed description when read in conjunction with the accompanying drawings. It is emphasized that, in accordance with common practice, the various features of the drawings are not drawn to scale. Instead, the dimensions of the various features are arbitrarily expanded or reduced for clarity. The drawings include the following figures:

[0014] Figure 1 It is a schematic perspective view of a traditional guitar;

[0015] Figure 2 yes Figure 1 a schematic side view of the guitar shown;

[0016] Figure 3 It's a perspective view of the guitar, highlighting the slit lining;

[0017] Figure 4 is a perspective view of the bottom or inner surface of the soundboard, highlighting a portion of the tapered soundboard recurve;

[0018] Figure 5 yes Figure 4 Bottom view of the soundboard shown;

[0019] Figure 5A It is along Figure 5 A cross-sectional view along line 5A-5A showing an edge of a first curved section of the curved portion;

[0020] Figure 5B It is along Figure 5 A cross-sectional view along line 5B-5B showing an edge of a second curved section of the curved portion;

[0021] Figure 5C It is along Figure 5 A cross-sectional view along line 5C-5C showing an edge of a third curved section of the curved portion;

[0022] Figure 6 yes Figure 4 and Figure 5 a bottom view of the soundboard shown, highlighting the specific dimensions of the recurve; and

[0023] Figure 7 Just one example of a bracket suitable for a guitar soundboard is shown. DETAILED DESCRIPTION

[0024] Stringed instruments according to the present invention may include guitars, such as acoustic guitars, solid-body electric guitars, and acoustic-electric guitars, but may also include other stringed instruments, such as banjos, mandolins, violins, lutes, and / or other similar instruments. Although the principles of the present disclosure are described in conjunction with guitars, it should be understood that the disclosed principles are also applicable to other stringed instruments having an instrument body and an elongated neck along which the strings are stretched.

[0025] Reference is now made to the drawings, in which like reference numerals designate like elements throughout the several views forming the same. Figure 1 and Figure 2 A brief description of various components of a stringed instrument according to the prior art and the present invention will now be briefly discussed. As shown in these figures, a guitar 1 includes a guitar body 2 connected to a neck 4 in a conventional manner. The body 2 is composed of a front panel 18a having a circular sound hole 28, a back panel 18b facing the front panel 18a, and side panels 18c. The edges of the front panel 18a and back panel 18b are joined together with the side panels 18c so as to be spaced apart from each other. Sound resonance occurs within the interior space formed by the front panel 18a, back panel 18b, and side panels 18c. Furthermore, a hole for inserting the neck 4 is formed on one side of the body 2.

[0026] The neck 4 takes the form of a beam 3 of considerable thickness having a top surface 5a and a bottom surface 5b. The neck 4 is typically comprised of wood or some other similar or conventional material suitable for withstanding continuous string tension without warping or distortion. The neck 4 has an integral headstock 6 that holds a plurality of individual tuning pegs 8 (typically six or possibly twelve), each of which in turn holds the free end of a desired string 10 in a conventional manner. The strings 10 are strung under considerable tension (e.g., approximately 30 pounds per string) and extend from a first fixed point or axis 12, formed by a saddle 14 supported by a bridge 16 permanently fixed to a front plate 18a of the guitar body 2, to a second fixed axis 20, formed by a nut 22 permanently fixed to the top surface 5a of the neck 4 and adjacent the headstock 6. Furthermore, an adjustment rod (not shown) is installed within the beam 3 of the neck 4 to prevent the neck 4 from being bent or twisted due to the tension of the guitar strings 10 .

[0027] The fingerboard (also known as the fret board 24 on fretted instruments) is an essential component of most stringed instruments. The fret board 24 is an elongated strip of hard material, typically a reinforced polymer or wood (such as rosewood or ebony), that mates with and is formed on the top surface 5a of the neck 4 so as to be positioned between and separate the rest of the neck 4 from the strings 10. The material from which the fret board 24 is constructed should be strong, durable, and stable enough to support and retain the metal frets 9, which are mounted at regular intervals at the top of the fret board 24, and to withstand the wear and tear of years of playing. The strings 10 extend across the fret board 24 between the nut 22 and the bridge 16. On a traditional guitar, the heel 26 is integrally formed with the rest of the neck 4 and extends from the bottom surface 5b of the neck 4. "Integral" refers to a single piece or unitary component that is complete in itself without additional components, i.e., the component is an integral component formed as a single unit with another component.

[0028] like Figure 1 As shown, an upper bout 30 is the portion of the guitar body 2 closest to the neck 4; the upper bout 30 extends approximately from the top of the body 2 to the middle of the sound hole 28. A lower bout 32 is the largest portion of the guitar body 2, closest to the ends of the strings at the bridge 16; the lower bout 32 extends approximately from the middle of the sound hole 28 to the bottom of the body 2.

[0029] like Figure 3 As shown, the guitar 1 can be formed at the joint between the front panel 18a and the side panel 18c and at the back panel 18b ( Figure 3 The junctures between the front panel 18a, back panel 18b, and side panels 18c (not shown) and the guitar 1 include slit linings 34. The process of "slitting" the guitar 1 creates surfaces for gluing and reinforcing the front panel 18a, back panel 18b, and side panels 18c of the guitar 1. Each lining 34 is slit (grooved) to allow for flexibility to accommodate the curved components of the guitar 1.

[0030] When playing guitar 1, the musician moves his or her fingers up and down neck 4, pressing on strings 10 to shorten them and producing various pitches when strings 10 are plucked, plucked, or otherwise excited. Typically, frets 9 on fret board 24 extend across the width of neck 4 to provide a place to anchor the ends of shortened strings 10 at a determined or desired location.

[0031] Typically, strings 10 are tuned to the desired pitch at the top of neck 4 or at headstock 6, where tuning pegs 8 increase or decrease the tension on each string 10. The user then plays the desired note by pressing the string 10, extending across neck 4, against fret board 24 attached to top surface 5a of neck 4 while lightly plucking the string 10 near the middle of guitar body 2. The pitch of the resulting note depends on the tension of the string 10 and the distance between the frets 9, where the string 10 is pressed against neck 4, and the lower anchor point. The smaller the distance between the depressed string 10 and bridge 16, the higher the resulting pitch. Increasing the tension in the string 10 will also produce a note with a higher pitch.

[0032] In the case of an acoustic instrument, such as an acoustic guitar 1, a body 2 encloses a resonant sound cavity. Strings 10 are plucked, plucked, or otherwise excited, causing them to vibrate. This vibration, in turn, causes the bridge 16, on which the strings 10 extend, to vibrate. In effect, the bridge 16 forms the vibration endpoint of the strings 10 for each played note. When the instrument is played, the vibration of the bridge 16, in turn, causes the front plate 18a (called the soundboard) of the acoustic instrument to also vibrate, which in turn causes the air trapped in the sound cavity to move, producing the sound heard through the sound hole 28. The vibration of the soundboard 18a significantly affects the timbre of the guitar 1. Generally speaking, the freer the soundboard 18a vibrates, the louder and better the timbre of the guitar 1.

[0033] Returning to the structure of the guitar 1, the soundboard 18a is Figure 4 and Figure 5 Highlighted in. Figure 4 1 is a perspective view of the bottom or inner surface of the soundboard 18a, which is the surface of the soundboard 18a that helps define the sound cavity. The soundboard 18a has a partially tapered soundboard recurve 50 located on this inner surface. Figure 5 1 is a bottom view of the soundboard 18a. The recurved portion 50 can be manufactured in a number of different ways. As known to artisans, mechanical cutting and removal by grinding with a grinding wheel are two exemplary manufacturing processes.

[0034] In one exemplary embodiment, the reversed curve 50 of the soundboard 18a begins at point 60, at or near the end of the treble-side X-bracket (i.e., near that end), and extends to point 62, just below the bass-side waist (i.e., near point 62). The reversed curve 50 is asymmetrical about the longitudinal axis A of the body 2 and, because it forms part of the body 2, is part of the soundboard 18a. The reversed curve 50 includes three main components: a first reversed section 52, an intermediate or second reversed section 54, and a third reversed section 56.

[0035] The first reverse curve section 52 defines the beginning of the reverse curve 50 and forms a downward slope that begins flush with the initial thickness of the soundboard 18a. Figure 6 As shown, the first reverse curved section 52 forms a first dimension 64 defining a six inch (15.25 cm) bevel cut from the lower edge perimeter of the back side to the horizontal plane of the soundboard 18a. Figure 5A It is along Figure 5 The cross-sectional view along line 5A-5A shows the edge of the first inflected section 52.

[0036] The reverse curve 50 has reached its full depth in the second reverse curve section 54. In the example shown, the transition between the first and second reverse curve sections 52, 54 is formed by a first radius corner blend 70 having a radius of 1.5 inches (3.8 cm) cut along the undercut. Figure 5B It is along Figure 5 The cross-sectional view along line 5B-5B shows the edge of the second inflected section 54. Figure 5B Also shown is an example edge thickness 72, which may be approximately 0.070 inches (0.18 cm). In the example shown, the transition between the second and third reverse curved sections 54, 56 is formed by a second radius corner blend 74 having a radius of 1.5 inches (3.8 cm) cut along the undercut.

[0037] The third inflected section 56 defines the end of the inflected portion 50 and forms an upwardly inclined surface that terminates flush with the initial thickness of the soundboard 18a. Figure 6 As shown, the third reverse curved section 56 forms a second dimension 66 defining a six inch (15.25 cm) bevel cut into the back side of the lower edge of the soundboard 18a to a depth of approximately 0.050 inches (0.125 cm). Figure 5C It is along Figure 5 The cross-sectional view along line 5C-5C shows the edge of the third inflection section 56. Figure 5B A second radius corner blend 74 and an example edge thickness 76 (which approximates the full thickness of the soundboard 18a) of the third recurved section 56 are shown.

[0038] The precise geometry of the recurved portion 50 can be adjusted in conjunction with the bracing also located on the bottom of the soundboard 18a (among other structural features of the guitar 1) to achieve the desired sound quality. Guitar bracing refers to the system of braces (usually made of wood) that internally supports and reinforces the soundboard 18a and backboard or back plate 18b of an acoustic guitar. The bracing (or top bracing) of the soundboard 18a transfers the forces exerted by the strings 10 from the bridge 16 to the rim or side plates 18c. The challenge facing the luthier is to brace the guitar 1 to withstand the stresses exerted by the strings 10 with minimal distortion, while allowing the soundboard 18a to respond as fully as possible to the tones produced by the strings 10. Bracing design has a significant impact on the type of sound produced by the guitar 1. The backboard 18b of the guitar 1 is braced to help distribute the forces exerted by the neck 4 on the body 2 and maintain the tonal responsiveness and structural integrity of the sound box. Bracing can be made of premium woods (spruce or cedar), balsa wood, or, in some instruments, carbon fiber composites.

[0039] Figure 7 Only one example of support for the soundboard 18a of the guitar 1 is shown. In the example shown, the soundboard 18a is supported using an X-bracing system, or a variation thereof, commonly attributed to Christian Frederick Martin for use on gut-string guitars between 1840 and 1845. This system consists of two brackets 80, 82 that form an "X" shape across the soundboard 18a below the top of the soundhole 28. The lower arm of the "X" spans and supports the end of the bridge 16. Below the bridge 16 is a bridge patch 84 (typically made of hardwood), which prevents the ball ends of the strings 10 from damaging the underside of the soundboard 18a. Below the bridge patch 84 are one or more tone bars 86 that support the bottom of the soundboard 18a. The tone bars 86 abut one of the X-bracings, such as the X-bracing 80, and generally angle downward toward the bottom edge of the soundboard 18a. In most instruments, the top tone bar 86 rests against a portion of the bridge patch 84. Angled braces 88 are on either side of the sound hole 28, vertically spanning the horizontal transition between the upper and lower edges 30, 32 of the soundboard 18a. Around the lower edge 32, a pinkie brace 90 supports the area between the X-braces 80, 82 and the edge of the soundboard 18a.

[0040] In summary, an acoustic stringed instrument body 2 having a soundboard 18a with a partially tapered soundboard bend 50 features an asymmetrical bend 50 that begins and ends flush with the initial thickness of the soundboard 18a. Furthermore, the partially tapered soundboard bend 50 extends from the inside of the body perimeter, through the slit lining 34, to the edge of the stringed instrument side. (However, in alternative embodiments, the bend 50 may be applied to areas within or below the soundboard 18a that do not extend to the edge of the soundboard 18a.) The bend 50 extends to the very edge of the body 2 and is attached to the frame defined by the side panels 18c of the guitar 1. The variable width of the partially tapered soundboard bend 50 allows for tonal optimization based on the style of the body. The partially tapered soundboard bend 50 slopes to its full depth over a variable distance and slopes back up over a variable distance, allowing its length to be optimized for a particular stringed instrument.

[0041] The guitar body 2 is typically made of wood. However, according to other embodiments, the guitar body 2 can be made of plastic, graphite, or other suitable materials. The partially tapered soundboard recurve 50 is suitable for use with wood materials as well as alternative materials, including but not limited to composites, carbon fiber, and laminates, and can be formed directly from these materials without any type of cutting.

[0042] When glued to a normally polished stringed instrument frame, the soundboard 18a with the partially tapered soundboard curve 50 exhibits a slightly downward-sloping arch (relative to the twist of the stringed instrument bridge 16) that is strong and stable. The partially tapered curve 50 follows an asymmetrical path, resulting in a tapered edge that tapers toward the glued surface and then concaves back to its full depth toward the middle of the soundboard 18a. The partially tapered curve 50 creates greater flexibility in key areas of the soundboard 18a to produce the desired tonal effect.

[0043] The recurve 50 achieves an improved tonal response compared to conventionally constructed acoustic stringed instruments. The recurve 50 can be discretely applied to different acoustic stringed instrument body shapes and bracing styles. Unlike known soundboards with relief cutouts, which require the instrument's soundboard to return to its full thickness at the glued surfaces of the soundboard and sides, the recurve 50 allows the soundboard 18a to maintain its altered depth to its full edge in areas where optimal tonal response is required. Furthermore, while known soundboards with relief cutouts only affect changes to the acoustic stringed instrument's internal geometry, the partially tapered soundboard recurve 50 alters the overall external dimensions of the acoustic stringed instrument, inducing a slight arch in key areas to mitigate soundboard deformation when string tension is applied. Thus, an acoustic stringed instrument body 2 having a soundboard 18a with a partially tapered soundboard recurve 50 affects both the interior and exterior of the acoustic stringed instrument's soundboard top and / or back. One visual advantage is that the soundboard 18a still looks like a traditional flat-top guitar because the asymmetrical recurve 50 is on the bottom or inner surface of the soundboard 18a.

[0044] Another advantage over known techniques is that the partially conical soundboard bend 50 allows the width and location of the relief area to be selected. Yet another advantage is that the bend 50 can be targeted to a specific area of ​​the soundboard 18a to maximize the desired tonal effect. The variable width of the partially conical soundboard bend 50 allows for tonal optimization based on the body shape.

[0045] Although illustrated and described above with reference to certain specific embodiments and examples, the invention is not intended to be limited to the details shown. On the contrary, various modifications may be made to the details within the scope and range of equivalents of the claims without departing from the spirit of the invention. For example, all ranges cited broadly in this document are expressly intended to include within their scope all narrower ranges falling within the broader ranges.

Claims

1. A soundboard for a musical instrument having a body, a back panel, and side panels, wherein the soundboard, the back panel, and the side panels define a sound cavity of the musical instrument, the soundboard extending along a longitudinal axis and having a thickness and A partially conical reverse curve, the partially conical reverse curve being asymmetrically arranged about the longitudinal axis and comprising a first reverse curve section, a second reverse curve section, and a third reverse curve section, wherein the first reverse curve section forms a downward slope starting flush with the thickness of the soundboard, the second reverse curve section defines the full depth of the partially conical reverse curve section, and the third reverse curve section forms an upward slope terminating flush with the thickness of the soundboard, wherein the first reverse curve section slopes from the thickness of the soundboard to the full depth of the partially conical reverse curve section over a first distance, the third reverse curve section slopes from the full depth of the partially conical reverse curve section to the thickness of the soundboard over a second distance, and the first distance and the second distance are varied to optimize the tonal performance of the instrument.

2. The soundboard according to claim 1, wherein The partially conical inflection has a variable width.

3. The soundboard according to claim 1, wherein A transition between the first and second reverse-bend sections is formed by a first radius corner blend.

4. The soundboard according to claim 3, wherein The first radius corner blend is approximately 3.8 cm.

5. The soundboard according to claim 1, wherein The transition between the second and third reverse curve sections is formed by a second radius corner blend.

6. The soundboard according to claim 5, wherein The second radius corner blend is approximately 3.8 cm.

7. The soundboard of claim 1 , further comprising an X-bracing system configured to support the soundboard.

8. The soundboard according to claim 1, wherein At least one of the downward slope formed by the first reverse curve section and the upward slope formed by the third reverse curve section extends for approximately 15.25 cm.

9. A musical instrument comprising the soundboard according to claim 1.

10. The musical instrument according to claim 9, wherein The musical instrument is a guitar.

11. The musical instrument according to claim 10, wherein The guitar has a bass-side waist and a treble-side X-brace having a distal end, and the partially tapered recurve begins at or near the distal end of the treble-side X-brace and extends to or near a point directly below the bass-side waist.

12. The musical instrument according to claim 10, wherein A transition between the first and second reverse-bend sections is formed by a first radius corner blend.

13. The musical instrument according to claim 10, wherein The transition between the second and third reverse curve sections is formed by a second radius corner blend.

14. The musical instrument of claim 10, further comprising an X-bracing system configured to support the soundboard.

15. The musical instrument according to claim 10, wherein The body of the guitar has an edge, and the side panels of the guitar define a rim, and the partially tapered recurve extends to the edge of the body and is attached to the rim defined by the side panels.

16. The instrument of claim 10, further comprising a joint between the soundboard and the side panels, a joint between the back panel and the side panels, and a slit lining at one or both of the joints.

17. A musical instrument comprising: main body; Back panel; side panels; as well as a soundboard extending along a longitudinal axis and having a thickness and a partially conical reverse curve, the partially conical reverse curve being asymmetrically arranged about the longitudinal axis and including a first reverse curve section, a second reverse curve section, and a third reverse curve section, wherein the first reverse curve section forms a downward slope that begins flush with the thickness of the soundboard, the second reverse curve section defines the full depth of the partially conical reverse curve section, and the third reverse curve section forms an upward slope that terminates flush with the thickness of the soundboard, wherein the partially conical reverse curve section has a variable width, the first reverse curve section slopes from the thickness of the soundboard to the full depth of the partially conical reverse curve section over a first distance, the third reverse curve section slopes from the full depth of the partially conical reverse curve section to the thickness of the soundboard over a second distance, and the first and second distances are varied to optimize the tonal performance of the instrument, the transition between the first and second reverse curve sections being formed by a first radius corner blend, and the transition between the second and third reverse curve sections being formed by a second radius corner blend, The soundboard, the back panel and the side panels define a sound cavity of the instrument.

18. The musical instrument of claim 17, further comprising an X-bracing system configured to support the soundboard.

19. The musical instrument according to claim 17, wherein The musical instrument is a guitar.

20. A musical instrument having main body; Back panel; Side panels: and a soundboard extending along a longitudinal axis and having a thickness; and a partially conical reverse curve, the partially conical reverse curve being asymmetrically arranged about the longitudinal axis and comprising a first reverse curve section forming a downward slope that begins flush with the thickness of the soundboard, a second reverse curve section defining the full depth of the partially conical reverse curve, and a third reverse curve section forming an upward slope that terminates flush with the thickness of the soundboard, wherein the first curved section slopes from the thickness of the soundboard to the full depth of the partially conical curved portion over a first distance, the third curved section slopes from the full depth of the partially conical curved portion to the thickness of the soundboard over a second distance, and the first and second distances are varied to optimize the tonal performance of the instrument, and The soundboard, the back panel and the side panels define a sound cavity of the instrument.

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