I've updated the Grand Concert Model section of my website with some new studio shots of a very pretty guitar I've recently completed. Here's a high resolution image that really shows off the beautiful koa top I got from the friendly folks at Big Island Acoustic Koa. The tone of this instrument was outstanding as well. With regard to the tone of my Grand Concert, I follow one simple principle, that I'm always looking for more of everything. I want great volume, low lows, high highs, and a huge dynamic range. With this guitar the basses are very full and rich, but focused and never muddy. The midrange of the guitar is the real sweetspot of its timbre. A strong upper midrange provides a sweetness to the sound that gives the sustained tone a "cheery" sound, preventing it from having a nasal quality. Fat trebles with strong overtones and good sustain provide a bell-like response, avoiding the kind of modulated twang sound that comes from guitars with thin, simple treble response. Incidentally, by "overtones" I'm referring to high frequency partials of notes, not reverberation/echo-iness, a quality for which the term "overtones" is sometimes used. That reverberant quality, or its relative absense, is an aspect of tone which can be addressed with tonewood choices.
Tuesday, August 29, 2006
Some New Studio Shots
I've updated the Grand Concert Model section of my website with some new studio shots of a very pretty guitar I've recently completed. Here's a high resolution image that really shows off the beautiful koa top I got from the friendly folks at Big Island Acoustic Koa. The tone of this instrument was outstanding as well. With regard to the tone of my Grand Concert, I follow one simple principle, that I'm always looking for more of everything. I want great volume, low lows, high highs, and a huge dynamic range. With this guitar the basses are very full and rich, but focused and never muddy. The midrange of the guitar is the real sweetspot of its timbre. A strong upper midrange provides a sweetness to the sound that gives the sustained tone a "cheery" sound, preventing it from having a nasal quality. Fat trebles with strong overtones and good sustain provide a bell-like response, avoiding the kind of modulated twang sound that comes from guitars with thin, simple treble response. Incidentally, by "overtones" I'm referring to high frequency partials of notes, not reverberation/echo-iness, a quality for which the term "overtones" is sometimes used. That reverberant quality, or its relative absense, is an aspect of tone which can be addressed with tonewood choices.
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