Guitar break-in

[foxtrot]

I had a conversation with a friend who is an avid guitar player and we discussed how guitars go through a break-in period but he didn't know what causes a guitar to improve soundwise with age. Being that new guitars are already made with aged woods, some hundreds of years old, what process goes on presumably within the wood itself that causes guitar tone to improve over time once being played. My friend suspects it has something to do with the vibrations of extended playing over a period of time that somehow changes the properties of the wood which contributes to the improved sound. Therefore it would seem reasonable to say that if you had two identical guitars and one you played daily for a few hours and one left un-played that over a period of time the guitar that had extended playing time would sound better than the un-played one. Is this true, hogwash or a bit of both? Can anyone elaborate on the issue of guitar break-in?
Thanks

[silkmd]

This is a topic of interest to me as I have recently purchased a new guitar. Permit me to broaden the scope of your point by referring to not only the long term changes but also the short-term changes that I notice my guitars go through – old as well as new. I have two guitars – one built in 1976 and the other built in 2002. When I received the 2002 guitar from GSI, it did “settle in” over the next several weeks. The bass became much deeper and the sound much fuller. But since then it has also undergone short-term fluctuations or changes in its mood or temperament, sometimes more “harmonious”, other times “unharmonious”. This is, I think, independent of the string type or the particular moments in the string’s life cycle.

One day or week it plays beautifully the next not so. I keep both of them in a humidified case to regulate that aspect of their care. Yet, there are times I notice that if I play too much the guitars becomes “heavy” – thick and less responsive. Other times, if I leave it for weeks and then play it, it is like magic- light, responsive and very moving.

But, I cannot work out the patterns – how much to play them or not play them. I live in a temperate climate, so weather cycles are not wildly erratic. I do notice that these fluctuations are more evident in the newer guitar and less in the older one.

It’s not a big deal, but rather something that I notice to my frustration.

Michael Silk,
Melbourne, Australia

[tmkid]

This is a very interesting but complex topic. Guitars improve at different stages for different reasons. Early on the guitar will improve due to the relief of tension as the pieces settle into position. It improves as the finish and glues continue to dry. It improves as it is played and the top flexes with constant vibration. Aged woods helps this process, but it is not the whole picture. Not by a long shot.

The best way to break in a guitar is to play it with love. Don't fight it, but play and enjoy it. It will improve with age.

Tim

[eckersley]

Having been a harpsichord voicer for some years in the past, this topic came up a lot among harpsichord builders. The most convincing argument I heard was that with quarter-swan wood, such as on the soundboard of a guitar or harpsichord, the lengths of grain wood (that being the dark and thin stripes) tend to act like strings, vibrating and/or oscillating sympathetically with the strings of the instrument. As the instrument settles in it is thought by some that the pith between the grain lengths loosens slightly due to that vibration, thereby allowing the grain wood to vibrate more freely even, and hence improving the sound. Many string players, such as violinsts and cellists argue that if they leave a well matured instrument unplayed for a while they need to warm it back in over a period of weeks or months. This could be, perhaps, due to the pith drying or setting. My knowledge of the biology and physics of woods is too lacking to add any authority to these ideas.

Best

Dominic

[Pepe Vergara]

There is a small difference between settling and opening up. Also, few guitars are made with very old woods. Some luthiers have a stock of wood that they purchased many years ago to ensure natural drying process. I learned that from Jose Oribe, and have spent a bunch of money buying wood and storaging in a nice place to air dry it. I have also purchased wood that has already been dried. I also have purchased wood a year old only, but with some tricks I have learned, I do reduce the humidity enough to make them sound good. Now to the real deal. Guitars will settle after being strung and played. The constant tension exerted by the strings will create stress on the soundboard (it will lift a little), it will try to bend the neck ( in classicals is not a big deal if quarter sawn mahogany. If Spanish cedar, it would need some reinforcement), the tuning machines will tend to get to their final place (if holes too big, then it will rattle), the back will feel the tension from the strings too. Any brace poorly glued or not quarter sawn, may suffer and create buzzings. After a few days of playing, the whole guitar will settle, all the woods and part if properly built will occupy the space and form they are going to live with. That is why, I always leave my guitar tuned (not losen the strings). Just like a car, the few first miles, the car get adjusted, and you too.
The opening up is different. Spruce (and less in Red Western Cedar) has some resins and humidity with pores and cellulose (that is what wood is about). With time, wood keep losing humidity, and resins oxidize with the oxigen in the air. When the resin oxidizes, it solidifies. WHen the guitar is PLAYED (not kept in the closet), the vibrations force the solidified resin to break in little pieces that will fall off from the top. As a consecuence, the top becomes lighter and produces better tone. Cedar has less resin and loses humidity very quickly, that is the reason cedar does not improve with time (it is already improved from day one). The lesson here is: Play the gutiar, do not hang in there and keep in the case without playing. Use it and open it up quick.

[CGPDX]

Hello All,

I am a newbie, and I can use a lot of advice and information. In this subject, If I just just make loud noise cause more vibration with heavier tension would it make the guitar sounds better sooner?

Thanks!

[Pepe Vergara]

Do you mean: something like placing the guitar in front of a speaker that produced permanent sound, or next to a window where few feet away you have a train passing by? I guess that may work a bit. You will have to do the experiment and let us know. I would say that the way the vibration is caused has something to do with it. In that case, I would say that the team: strings, top, soundhole, etc., would be more appropriate.

[cdikland]

I used to place my new guitar in front of a speaker, pop in a J. Williams CD, turn up the volume and go off to work for the day. Did that for about 1 month straight. Did it make a difference??? I'll never know. My dogs, on the otherhand now hate John Williams :o

[Libre]

... My dogs, on the otherhand now hate John Williams :o

Hey! Having met John Williams, I might guess that not only do your dogs hate John Williams, but probably J.W. hates your dogs as well. And all other dogs too. Maybe small children as well. Ah - I'm just being mean because he seemed very supercillious and had what we now call, an "attitude". Claimed he was "too tired" after playing the concert to allow pictures taken - and we all know how exhausting getting your picture taken can be (?)!

On the subject of guitar break-in, and why guitars sound better on some days than other days, that is a curious phenomenon, but it bears mentioning that perhaps it is US - the guitarists - that sound better some days than other days. I used to notice that on some days I would ride my bicycle much better and faster than on other days. Nobody would suggest that the bike itself was better and faster.

So face it - if there are effects of wood aging, grain structure, humidity, temperature, and our dog's moods, they are negligable compared to the HUGE effect that our own mood, dexterity and momentary degree of mastery produce.

[eckersley]

I think you are dead on when it comes to how we are better some days and worse others. I also find that a good audience can transform a concert for the better.

As to attitude I'm afraid it is all too common in the arts, especially music. Unfortunately, what J.W. doesn't really realize, I imagine, is that since he started his Sky ventures he has lost so much respect in the classical music world, at least among non-guitarists, that his attitude, if that's what it was, is all the more amusing. On the other hand, someone so much in the public eye might just find yet another photo-op more than he can deal with at the moment, especially if he thought the concert went badly.

Just my twopencehapenny's worth.