Design process - Seeing the guitar through time.
I design each Andre instrument as a unique piece. Some templates come back, but the person for whom the guitar is intended is different every time.
I do understand the investment required to acquire my work. For this, I have developed characteristics that ensure my instruments stand the test of time. (More on this below!)
For too long the guitar has been seen as a disposable object, and my use of cutting-edge materials, whether it's just the glue I use, is as important as the shape or the color of the guitar I build.
Making a custom-made instrument certainly involves a human factor. This is how I approach the work. Your memory of me must be absolutely top ++! And for that, I objectively take care of the design of your guitar, so that it remains stable through its years of use and ultimately becomes your favorite tool of expression.
Hollow-body guitars
My hollowbody electric guitars are thought out in terms of acoustic engineering, before any amplification factor comes into play. They have to sound naturally good on their own to sound great through an amp.
A guitar such as Kouai has great unplugged qualities that one can hear when well recorded.
Hear (above) guitarist Jean-Marc Hébert play -Élégie- in solo. Durations 2 minutes.
Multi hollow-body Harp-guitar - Internal view
Acoustic Instruments
Inside the box to the Maya Bass, can be seen my typical laminated -neck wings- support attached from its neck block to its sides, at waist. The neck wings (as per Steve Klein) offer a stable neck-body connection that prevents the to often needed neck-reset on acoustic guitars.
The acoustic influence of the -neck wings- can actually be heard. Here revealed is a soundboard that is truly put into motion.
Since neck stability is now present in all axes, the guitar's string energy is directed more towards the bridge.
As seen below, these neck-wings are present in all my acoustic instruments.
Hear the Maya in a 35 seconds demo.
The Soundbox as a sound shaping component.
Inside and outside the soundbox to Oudtar. Typical -neck wings- support are attached to the neck block,
Kasagami Japanese paper reinforces every seam of the 22 - rib structure.
Raga 2 bowl-back guitar before assembly (left), and the Old-school Archtop rim assembly (right).
Inside the Clara Archtop, 2020: -Typical -neck wings- support attached to neck block. Also visible, is a laminated rosewood internal pickup support, that holds the pickup suspended and clear of the top.
Different bracing patterns - Reflecting your quest for tone.
Guitare-fruit Wurcer, intermixed parallel bars and ladder bracing.
Old-school Archtop : Intermixed parallel bars and ladder bracing.
Oudtar : soundboard prior to voicing : -Intermixed x-brace and a sequential bracing.
Raga Guitar : -Traditional x-brace with fan-type lower bout segment
Video below: Rudy Pensa playing the Raga-guitar for the first time.
Video courtesy of the Boutique guitar Showcase
In Short:
The design of your instrument can be influenced by several currents and era of the guitar.
It's my job to listen to you, then combine your requests into a cohesive, concise and technically accurate whole:
- From eliminating common pain points, to bringing in new sounds and brilliant functional factors, guitar design is a powerful creative tool capable of enhancing one's musical vision.
It will be my pleasure to identify and define with you the essential qualities for your next guitar.