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I have yet to play a guitar with a sound port, but those who use them seem to like what it does. I've read lots of good things and have yet to come across anything bad. So the question is has anyone added one to a completed instrument if so what was the result? I am seriously considering adding one to my OM cutaway, EIR/sitka. I thought I would ask the experts before I start cutting holes in the side of my guitar. I was thinking reinforce the side with a 1/2" baltic birch ply block then cutting out the port and binding the hole with maple to match the binding on my guitar. Does this sound reasonable, or should I scrap the idea and just incorporate one into my next build? I think it would be an interesting experiment, but I really dont want to mess up a good sounding instrument.

I believe the folks putting sound ports in are doing them when the rims are flat prior to bending. I have not done one yet, but working with the curvature of the bout, thickness, etc. a slip could really cause some damage. If it were myself, I would incorporate one into the next build.

Some of the "portly" folks will chime in I am sure

Mike

I have cut many ports in completed guitars during my R&D phase. I now cut them after the guitar is in finsh with 3 coats left to spray. That way there isn't an abundance of finsh that builds up around the port edges.

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tim...
http://www.mcknightguitars.com

I put my in with a jewelers saw after the sides are bent and Ive added a reinforcement patch behind it. The side are together the linings are in.

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Jim Watts
http://jameswattsguitars.com

Chris, this is no 3 for me and i decided to experiment, i cut this hole after the sides were bent, i glued a very thin veneer inside before cutting the hole.





All that's left for me to figure out is a way to bend a very tiny strip of ebony to match that hole size!

If the guitar is already finished, and you like the timbre, don't make the hole too big. Basically, the hole changes the pitches of the 'air' resonances, and also 'listens in' on some you don't normally hear. This alters the tone of the guitar, and the bigger, the more. Usually it's the treble that comes up. The closer the port is to the 'main' soundhole, the less the change for a given size of hole. Even a 5/8" or 3/4" hole in the side near the wide part of the upper bout will make a decent 'monitor', which I feel is the most useful function.

Your convinced me. This guitar is a good sounding, not great, better then 95% of the factory instruments for sure but it has its weaknesses, mainly that the trebles are weak, at least that's my opinion, others love its mellow tone. I am going to tinker with the bracing some, not much in an attempt to improve it, and if a sound port will also improve the trebles also it sounds like a go for me. The monitor function is also a good thing for me since I play mainly for my own enjoyment, meditation, relaxation. If it will make the instrument talk to me more clearly it will be a good thing. Plus I am a tinkerer and love to gain info first hand and the effects of the port on the tone will add to my knowledge. Cutting a hole in the side doesn't scare me, I've put a few preamps in sides and have yet to have a problem. Thanks all

I own a guitar built by the Canadian builder Alan
Beardsell.It has 2 very large elliptical soundports
(large enough to fit your hand through)..regarding
player feedback...the tone of the guitar changes
depending on sitting position ..as in some positions
the ports are partially covered by the players
body.When I am playing it ..it sounds lovely and
warm sounding...when I stand out front and listen to
someone else playing it ..the tone is very different...a
lot more mid and top...but a totally wicked guitar
nevertheless.

[QUOTE=Raj Snake] I own a guitar built by the Canadian builder Alan
Beardsell.It has 2 very large elliptical soundports[/QUOTE]
Sounds interesting, Raj. Where are the ports located?

If you want to see a couple Beardsell sound ports, either go to his site, or there is one for sale on tehe 12th fret website, under used and vintage - a friend of mine owned that quilted maple one - got rid of it for a Chet Atkins style Gretsch !!!!

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Tony Karol
www.karol-guitars.com
"let my passion .. fulfill yours"

It's tricky to describe the location of the ports but here
goes...
The largest port is located between the lower bout
and the 'waist.'..the second ..slightly smaller one is
approximately on the 'shoulder' of the upper bout.
He has a website..and also there are pics on the
12th fret website..they are really pretty radical
looking..I own an Adirondack/EIR one and it's a
cracker!

Cool! Thanks Raj and Tony.

[QUOTE=Hesh1956] Serge I was thinking about how one might bend a thin piece of ebony or any wood for that matter to line the opening of your sound port.

What it you went with veneer thick ebony and rolled it kind of like a dipolma or a ring napkin holder. Insert is in the hole, insert a baloon, and blow up the baloon to act as the clamping caul for the ring. Mark how much over lap you have in the ring, pop the baloon, cut off the over lap and repeat with a new baloon.

Since you can get to the inside of the side now you just sand it flush as you would with the outside of the side.

Be aware that I don't know what I am talking about here and have never done a sound port - it's just an idea and perhaps others can build on the idea to make it work better?[/QUOTE]

Thanks for the balloon tip Hesh, i'll give that a try, the box is closed but it shouldn't be a problem to sand it down to side thickness with one arm inside the box, i believe! I'll try to cut a very thin strip of the leftover ebony binding that i have, thanks bro!

Chris, this is probably stating the obvious, so please forgive me... I don't mean to insult you... have you tried different strings (e.g. 80/20 bronze) to bring out the highs?

I've built one guitar with a side port so far. Cut it after the guitar was built, but not finished. Drilled and rough cut the hole, then faired it with a little sanding drum on a dremel. Didn't bind it. I like the way it looks unbound. Clean and simple. There is no veneer or anything reinforcing the side and I'm not the slightest bit worried about it.

The guitar sounds great whether the hole is covered or open, but it definitely has more "presence" and better balance from the player's perspective with the port open.

Incidentally, this guitar's main soundhole is on the treble side of the top in the upper bout. I put the sound port on the bass side (of course) in the lower bout, based on some completely unscientific, intuitive idea of balancing things out (well, a little pseudo-science: the "offset" main soundhole might tend to give the guitar a bass-heavy sound; a relatively large [roughly 1 3/4" x 2 1/4" oval] side port placed far from the main soundhole might bring up the mids and highs more significantly). What the heck... the guitar does indeed sound very balanced, sweet, lively, and generally excellent. It does like bright-sounding strings, though, or else it sounds a bit dark to my taste. With 80/20 bronze on there, though, I can't think of anything but positives to say about it.

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Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/

Hypothetical question (for an inquiring mind), as I have no plans for this technique should it work, but can the soundport end grain be left exposed yet finished like the soundhole, sanded nicely with perhaps a "bracing" patch underneath the port hole?

I've tried many strings, the guitar being alive about a year now, my favorites are the D'Addario phosphor bronze, they are a little brighter then the 80/20's. I just restrung and while the strings were off I attacked the braces after much contemplation and a well developed plan. I took a significant amount off the side braces and the tone bars, although I couldn't get my arm in far enough to get to lower(bass side} of the lower tone bar, I slightly reshaped the upper end of the x braces changing the scalloped end to more of a parabolic shape. The results were very good. I couldn't believe the difference when my son played it, will be a couple days before my hand uncramps and I can play The trebles gained much volume and character. I would now rate the guitar as very good sounding, still have excellent and outstanding to go but that may have to wait for another guitar, still thinking on the sound port thing. I think unbound would be just find, I'm thinking with the body and fingerboard bound with curly maple it would blend better.

[QUOTE=Sam Price]...can the soundport end grain be left exposed yet finished like the soundhole, sanded nicely with perhaps a "bracing" patch underneath the port hole?[/QUOTE]
I've seen photos of soundports that are finished as you describe. I think it's fairly common to do it that way.

Sam, here's one I did exactly as you describe.

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Jim Watts
http://jameswattsguitars.com