My fundamental acoustic design objective is for a powerful rich sounding guitar. I can accomplish this by directing the string energy to the soundboard , back and body cavity rather than the peghead, neck or sides which deplete vibrational energy. In addition, I seek to understand and control the resonating surfaces to benefit the tonal palette. To achieve this objective, all guitars in the Grand Series share these features:
-Doubled
Rosewood sides (ala Daniel Freiderich) for a stronger body.
-Graphite
laminated linings inside the body.
-A
Graphite Beam in the neck for rigidity and stability.
-
A proven bolted on neck to provide for a stronger, more accurate
upper bout assembly.
-An
engineered bridge with sculptured shapes for higher strength with less weight.
-A
“Flying Tone Brace” anchoring and stiffening the sides without deadening the
top. It also allows adjustment of frequency coupling between back,
top and body.
-A
dropped tail block so that the top has an uninterrupted circle of sound in the
lower bout.
-An innovative internal radial bracing design based on Kasha principles to increase the amplitude of the bridge and the vibrating zones of the soundboard.