Article XI about Stuart Mossman Guitars
Collection: Winfield Notable Artists
Title
Article XI about Stuart Mossman Guitars
Subject
S. L. Mossman Co.
Article
Description
Article on making a guitar discussing top bracing, action set and intonation.
Creator
Unknown
Source
Winfield Public Library
Publisher
Winfield Public Library, Winfield, Kansas USA
Date
Unknown
Rights
Format
text/plain
Language
English
Type
Miscellaneous Documents
Citation
Unknown, “Article XI about Stuart Mossman Guitars,” Winfield Digital Collections, accessed June 24, 2026, https://winfield.digitalsckls.info/item/184.
Text
ARTICLE XI
In making anything well, there are three things that are essential, and they have equal and interdependent importance. Design, materials and workmanship are the basic elements. The best of each achieves the superior result. Playability and good tone quality are the end results of a well constructed guitar. In these next two articles in this series of articles on guitar making, I will discuss top bracing, action set and intonation.
The top bracing in an acoustic, flat top guitar should be as lightweight as possible, yet strong enought to insure long term strength, durability and consistant tonal quality of the instrument. We attempt to achieve these goals by using high, thin braces in an interlocking bracing system.
All of our braces are made of spruce, which we receive milled into mouldings 1/4" by 3/4". They are cut to the following lengths:
1) "X" braces are 18-7/8";
2) The two sound hole braces are 3-3/8";
3) The four side and two top braces are 5-1/2" and 4-1/2", respectively;
4) The two tone bars are 12" and 12-1/2";
5) The fingerboard brace is 12".
Each guitar has 16-1/2 feet of bracing. The "X" braces are notched with a specially designed jig (see previous article for more detailed
description). A curve is then put on the top of the braces using an inverted router with a 1/4" carbide radius cutter. The braces are glued to the top with Titebond glue and shaved by hand with a chisel. The dimensions of the "X" braces are 3/4" wide by 1/4" high. The sound hole, side and top braces are 1/4" wide by 1/2" high. A scallop is machined into one end in order that the brace will lock into the notch on the "X" brace. They are then shaved by hand to the proper dimension. The tone bars (3/4" wide by 1/4" high) are glued to the top in a straight stick form and are then shaved by hand with a chisel. The fingerboard brace (7/8" wide by 3/8" high) is scalloped before being glued. This brace is placed 1/4" above the sound hole to provide more support to the sound hole area. All braces are positioned with a template which fits into and locates from positioning holes which are drilled into the top and bottom of the guitar top in the early stages of production.
The bracing formation around the sound hole provides this vulnerable area of the guitar with maximum support (see picture) . The interlocking bracing system helps insure a consistency in the tonal quality of each guitar. The dimensions of the braces give the top rigidity and strength necessary to diminish the liklihood of the top's pulling up.
The braces we use are placed in what is now commonly called an "X" pattern that is currently the standard in flat top design. No article could honestly be written without giving the early
3.
Martin credit for a radical though logical style of bracing. Mr. Martin certainly understood the value of triangulation in construction, and dividing his tops after that fashion devised an economical use of brace material with adequate strength. A necessary achievement for the further development of the steel string acoustic guitar.
ARTICLE XI PLATES
Top bracing:
a. Bracing pattern (top) - #2A
b. Interlocking braces (top) - #7A
c. Sound hole bracing - #3A
Original Format
Paper
Title
Article XI about Stuart Mossman Guitars
Subject
S. L. Mossman Co.
Article
Description
Article on making a guitar discussing top bracing, action set and intonation.
Creator
Unknown
Source
Winfield Public Library
Publisher
Winfield Public Library, Winfield, Kansas USA
Date
Unknown
Rights
Format
text/plain
Language
English
Type
Miscellaneous Documents
Citation
Unknown, “Article XI about Stuart Mossman Guitars,” Winfield Digital Collections, accessed June 24, 2026, https://winfield.digitalsckls.info/item/184.Text
ARTICLE XI
In making anything well, there are three things that are essential, and they have equal and interdependent importance. Design, materials and workmanship are the basic elements. The best of each achieves the superior result. Playability and good tone quality are the end results of a well constructed guitar. In these next two articles in this series of articles on guitar making, I will discuss top bracing, action set and intonation.
The top bracing in an acoustic, flat top guitar should be as lightweight as possible, yet strong enought to insure long term strength, durability and consistant tonal quality of the instrument. We attempt to achieve these goals by using high, thin braces in an interlocking bracing system.
All of our braces are made of spruce, which we receive milled into mouldings 1/4" by 3/4". They are cut to the following lengths:
1) "X" braces are 18-7/8";
2) The two sound hole braces are 3-3/8";
3) The four side and two top braces are 5-1/2" and 4-1/2", respectively;
4) The two tone bars are 12" and 12-1/2";
5) The fingerboard brace is 12".
Each guitar has 16-1/2 feet of bracing. The "X" braces are notched with a specially designed jig (see previous article for more detailed
description). A curve is then put on the top of the braces using an inverted router with a 1/4" carbide radius cutter. The braces are glued to the top with Titebond glue and shaved by hand with a chisel. The dimensions of the "X" braces are 3/4" wide by 1/4" high. The sound hole, side and top braces are 1/4" wide by 1/2" high. A scallop is machined into one end in order that the brace will lock into the notch on the "X" brace. They are then shaved by hand to the proper dimension. The tone bars (3/4" wide by 1/4" high) are glued to the top in a straight stick form and are then shaved by hand with a chisel. The fingerboard brace (7/8" wide by 3/8" high) is scalloped before being glued. This brace is placed 1/4" above the sound hole to provide more support to the sound hole area. All braces are positioned with a template which fits into and locates from positioning holes which are drilled into the top and bottom of the guitar top in the early stages of production.
The bracing formation around the sound hole provides this vulnerable area of the guitar with maximum support (see picture) . The interlocking bracing system helps insure a consistency in the tonal quality of each guitar. The dimensions of the braces give the top rigidity and strength necessary to diminish the liklihood of the top's pulling up.
The braces we use are placed in what is now commonly called an "X" pattern that is currently the standard in flat top design. No article could honestly be written without giving the early
3.
Martin credit for a radical though logical style of bracing. Mr. Martin certainly understood the value of triangulation in construction, and dividing his tops after that fashion devised an economical use of brace material with adequate strength. A necessary achievement for the further development of the steel string acoustic guitar.
ARTICLE XI PLATES
Top bracing:
a. Bracing pattern (top) - #2A
b. Interlocking braces (top) - #7A
c. Sound hole bracing - #3A
Original Format
Paper