在工作坊中
“灵感存在，
但它必须找到你
工作。”巴勃罗·毕加索
Latest hollow body instrument titled -78 Tempo-, on workbench showing light cedar top construction, and completed with mica pigments, anilin dye and nitrocellulose laquer finish. This guitar's primary application is more electric, while it acoustically (video below) validates an innovative concept in which the acoustic horn comes-in to naturally complement the acoustic sound of the guitar box as such.
目前正在试验将声学喇叭组件作为
吉他：
您读得没错。TriHorn 空心吉他正在制作中，虽然它的主要应用领域是电子领域，但它将使我能够验证与原声喇叭主题相关的某些想法，自然地补充吉他箱的声音。
通过这次实验，我的目标是让吉他的整个系统产生特定于哇音型中高音的频率输出，即向演奏者集中的明显中音，这对于采样和录音工作特别有用。接下来将找到一种方法来在现场应用中放大这些新声音。
SUPERSONIC: in the making
SUPERSONIC, general outline. Based on my MULTI harp-guitar shape, this new 6-string shares a carved soundbox configuration, with the addition of 2 -horns- positioned at upper-bout (column side) and below the tailpiece.
SUPERSONIC, border/raised-side is worked piece by piece in order to bring the soundbox to a 3" depth archtop guitar standard.
SUPERSONIC, redwood top and cedar soundbox, with carved soundbox inside/outside views.
有点钢铁的味道，有点声音——绝对是碗背式的。
Initiated in 2011, the bowl-back guitar is here a bent & laminated resonance shell rather than carved soundbox. Designed in the manner of the lute, and in affinity with the guitarist, its primary objective is to bring more natural reverberation to the sound of the acoustic guitar.
A bit like the Eastern instruments, Oudtar (above), Raga guitar and Raga 2 (below) offer the guitarist a slightly different voice, while remaining familiar in terms of playability.
最新款（2023 年） Raga 2采用碗背式配置：
Raga 2音箱由22块层压肋条组成，组装在多面可拆卸模具上。
“标准钢弦吉他的背板是柔韧的。当你弹奏音符时，背板会抽气并移动。这样，它就会像蹦床一样给你低音，”他说。“但是对于乌德塔琴来说，双曲面背板使整个音箱具有反射性。它就像一个圆顶或拱顶，给声音带来混响。”
“André 将其比作大教堂的声学效果，大教堂的设计让人们能够听到他们的声音在墙壁上回荡。由于乌德塔没有吉他盒的尖锐边缘，因此声音的共鸣类似于乌德琴或鲁特琴，这些乐器的背面也是圆形的。” JH White， 《Magnifissance》杂志（阅读更多）
Raga 2采用乳白色银粉漆面。
HARP-GUITAR TEASER
One picture below
具有共鸣弦的竖琴吉他： Multi、 Echoes of Time 、 Multi 2 。
2025：致力于原声拱顶吉他的一年。
There are ongoing archtop projects that I hope will captivate you in terms of sound and/or at least in terms of craftsmanship.
I have paid a lot of attention this past year to developing -My Blue Guitar- on behalf of the Archtop Foundation.
On the one hand, this collection (initiated by Scott Chinery) is a creatively significant one for me in my career, its release corresponding to my graduation from guitar making school - a long time ago - and it will have marked my young intellect with new unsuspected -guitar- possibilities.
On the other hand, it is, and I feel it, a real rendezvous with the history of the guitar, this order.
What exactly to present? On what level, between audacity, innovation, and tradition, to play this card? My God! !
In reference to my body of work, choosing exactly which version of the Archtop to present was downright the unbearable question.
So I decided to produce at least two (2) Blue Archtop (possibly 3) and to choose, along the way, which one will join the mythical collection by itself.
I don't want to spoil the surprise! So, on these few photos without descriptions, I'm just telling you that I'm working on it - with heart - in the best possible way!
Two of these guitars are taken. If I make the third one, it will be announced.
平背Clara Archtop内部。请注意，受小提琴和大提琴制作的影响，顶部周边的接触面积均匀。
