In the W o r k s h o p
“Inspiration exists,
but it has to find you
working.”Pablo Picasso
Current experimentation with the acoustic horn component as part
of the guitar:
You read correctly. The TriHorn hollow body guitar is in progress and although its primary application is more electric, it will allow me to validate certain ideas related to the theme of the acoustic horn, naturally complementing the sound of the guitar box as such.
From this experimentation, my aim is to have the guitar's complete system to generate an output of frequencies specific to the mid-highs of the -Wah- type, i.e. pronounced midrange sound focused towards the player, particularly interesting for sampling and recording work. Next up will be finding a way to amplify those new sounds within the context of live applications.
A bit of steel, a bit of sound - definitely bowl-back oriented.
The recent (2023) Raga 2 with its bowl-back configuration:
Raga 2 sound box is made up of of 22 laminated ribs, assembled on a multifaceted detachable mold.
“A standard steel-string guitar has a compliant back. When you strike a note, the back will pump air and move. It will give you bass notes in this way, acting as a trampoline,” he says. “But with the oudtar, the double-curved back makes the whole soundbox reflective. It’s like a dome or vault that gives reverb to the sound.”
“André likens this to the acoustics in a cathedral whose design allows people to hear their voices echoing up the walls. Since the oudtar doesn’t have the sharp edges of a guitar box, the sound resonates like an oud or a lute, instruments that also have a rounded back.” J.H. White, Magnifissance Magazine (Read more)
Raga 2 with opalescent silver dust laquer finish.
General soundbox designs:
The Maya Bass features laminated -neck wings- connecting its neck block its to sides in a triangular fashion :
A reinforcement of the neck-body junction originally developed by Steve Klein, these neck wings provide stability to the guitar's neck angle, preventing the neck from lifting-up, and essentially folding the guitar soundbox. This structural quality also has acoustic benefits - i.e. the neck being also stabilized laterally, the pulsating energy of the string is maintained more effectively (less loss in the neck itself) and is thus directed furthermore to the bridge of the guitar. (T.Andre)
Inside the Multi 2 Harp-guitar - View of its monocoque, ergonomic soundbox & reinforced neck pocket area.
Informal sound-bytes of this type of hollow-body harp-guitar.
Harp Guitars with sympathetic strings: Multi, Echoes of Time, Multi 2.
Inside the flat-back Clara Archtop. Note the even footprint of contact on top's perimeter as influenced by violin & cello-making.
2025: A year dedicated to the acoustic archtop guitar.
What a beautiful instrument to explore, to contemplate, to play! OMG!
In connection with all the culture and research surrounding the instruments of the classical quartet (violin, viola, cello, double bass) - the historic backdrop that is set for the acoustic archtop guitar to evolve within, coupled with its still unexplored potential, really tops off the challenge factor (for any luthier) regarding the making of this type of instrument.
Above: The Clara Archtop - acoustic / electric archtop guitar with floating (through the top) humbucker (2022).
Main materials: : Red Cedar, ziricote, black limba, ebony, rosewood, aluminium, dyed sycomore, recon stone.
In short, we can easily feel small when faced with the idea of, perhaps, making our own contribution to the development of the archtop; The challenge is certainly intimidating but also exciting. and to be taken up.
Above:
Latest offset 17' Archtop design in the making. Titled: -BLUEPRINT- ; To be presented as part of The Blue Guitars Collection in 2025.
As a player, you have some of the answers to this great archtop progression; And in all openness, I will say that many of my customers over the years will have shared with me fantastic ideas and concepts, about the guitar - and the earthly and real constraint is simply to fully choose one, or a few, of these ideas to properly support their development.
We truly live in a bright era, sharing today (among luthiers/players) the evolution of this type of guitar in particular. I'm heading back to work - and invite you to the ongoing discussion. To contact me, click here.