Dana explains his unique method of top
voicing: "I hold the top at a couple of known nodal points and tap
over the braces. I draw little circles on the top at the nodal points,
so I can visualize where they are. I tend to hold from two different points,
one on the bass side and one on the treble side.
Since the top is asymmetrically braced, the nodal points are going
to be in different places from side to side. I will also hold the guitar
above the sound hole, but I don’t consider this as important. As I work
I continually flex the top to help gauge my progress.
I listen to the tap tones, then alter the bracing
with chisel and finger plane, and then listen to the tap tones again. I
don’t care about the specific pitch at any point. Some people tune to certain
pitches, particularly in the violin world. Whatever they are doing seems
to work for them and produces wonderful instruments, but that is not my
approach.
I listen for musical qualities that are very difficult
to describe. I care what it sounds like when I tap over the bridge area
but I also want to hear what the other braces sound like. How clear is
the tone? How musical does it sound? As I remove wood from the braces I’m
always asking myself, 'Is this as good as it can be? Or, can it be a little
bit better?' If I decide that it can be better the question becomes, where
should I remove wood? That’s where experience takes over."
I can certainly hear that Dana's experience took
over with regards to the tone, power and complexity in this particular
example of his work. This Custom DB Signature OM with its Madagascar
rosewood & Adirondack spruce top is a stunning reminder that there
is no substitute for experience when creating a musical instrument at the
highest level! |
