Esto lo dijo Peter Skermetta, master builder de Tyler durante 5 años y ahora tiene su propia compañía (http://www.skermettaguitars.com) y están pillando mucha fama por 'bien sonantes'. Es muuy interesante. En un topins sobre Solid bodies vs chambered/ribbed dijo:
Hiperinteresante, aunque luego enrosques el gainen desen y ya solo te zumben las criadillasPeterSkermetta escribió: I've been experimenting with chambered bodies for over 10 yrs now. When done properly,it can really make a sweet sounding instrument. The size, shape, and placement of the chambers is crucial to getting it right. The choice of woods is also very important. Mahogany and Limba are the best. Alder not so much. It sounds better as a solid body. Thick maple tops are also something I avoid on a chambered guitar.
Ok, let me start off by saying I don't think one is better than the other. Both methods of construction make perfectly playable guitars. They are just different. It's all in the ear of the beholder. I happen to like them both.
Also, chambered or not the body is just part of what makes a guitar sound a certain way.
Anyway, for me, it's all about balance. Getting the right amount of resonance and sustain. Just like the choice of woods and hardware, chambers in the body are another way the builder has to fine tune that balance. One of the first things I realized, was that completely hollowing out the body didn't achieve what I was going for. Too much resonance, not enough sustain. Like Eagle says, some notes were dead while others would leap out at you. No balance. But, by using chambers that were not connected, and placing them in certain areas, the results were much different. Something that I think makes the guitar balanced across the entire fretboard.
Lower density = less mass = more resonance.
Higher density = more mass = more sustain
Every piece of wood has variations in density. That’s why two guitars built from the same board will sound different. What I’m trying to do is create areas of lower density (chambers) around an area of higher density. Thus centralizing the available mass and essentially creating a “sweet spot” to place the bridge.
Faster growth = lower density
Slower growth = higher density
Wood from faster growing trees have wider spaced growth rings.
Wood from slower growing trees has narrow spaced growth rings.
When I’m choosing wood I look at the rings. I’m looking for boards that have evenly spaced rings.
If the ring space is wide, I make the chambers smaller.
If they are narrow, I make the chambers larger.
If the board has groups of wide and narrow rings, that board is going too much variation in density so I don’t buy it.
I may be crazy, but in my 30 years of guitar building, I’ve never had such consistent results than I do now.
Of coarse what I do with the bodies is only half the story. There is also what I do with the necks, but that’s a different subject altogether.
Sorry, forgot to mention. I'm only talking about straight grained quartersawn mahogany.
I don't use this building technique with ash or alder. Swamp Ash in particular varies quite a bit because in grows partially submerged in water and that part of the tree will be substantially less dense than the rest of the tree.
) y claro, plaff acorde y un chutein enorme, con armónicos saltando de las cuerdas por aquí y allá, chisporroteo y fuegos artificiales. Un piano oiga, pero sin atemperar, porque ¿quien quiere darle témpera a una guita? 
