Dual Body Guitar - Wiolontara

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As part of my bachelor's degree, I was wondering if the concept of an acoustic guitar had anything new to offer. I followed two different paths in parallel, thanks to which the work resulted in two instruments. The starting point of the first concept was the non-obvious material of the sound box, and in the second concept inspiration was the mechanism on which the sound box works. The common element of both instruments was a neck based on the concept of a clamp.

I started with blank slate with no knowledge of guitars, playing and luthiery whatsoever. The design process that resulted in the design of the instrument consisted of many stages. I was conducting them in parallel, returning to them, supplementing them and gaining new informations. New conclusions were emerging and generating changes.

I traced and analyzed the history of instrument development over the centuries. I have listed the factors influencing their development. I also analyzed the construction of the guitar, the mechanism of its operation and detailed the factors affecting its sound and ergonomics.

Guitar design

The shape and visual side of the instrument is not accidental. It results from the compromise between the known and the unknown, i.e. the MAYA principle. The proposed instrument has to be innovative and intriguing enough to interest the target group, but familiar enough not to scare or create negative associations. This could be especially important when designing for guitarists. Contrary to appearances, this group is quite conservative, reserved and not very open to new solutions that differ significantly from those familiar and tamed.

The guitar with a dual body is the result of rethinking the principle of the soundbox. I decided to use two resonance boxes instead of one. They are excited simultaneously by one bridge, thanks to which the acoustic sound is richer, and after connecting the guitar to the amplifier, it is possible to adjust the sound (or mute) of each box separately.

Each soundboard and backplate is thought to be made from wood and carbon fiber laminate. Thin wood veneer gives the appearance of classical instrument and carbon fiber core takes care of dimensional stability in changing humidity.

Daily long hours of intense playing could result in diseases, injuries, and posture defects. I wanted to reduce this risk and increase the musician's comfort during exercises. For this reason I paid special attention to ergonomics during the design process.

The instrument offers the possibility of playing in the popular position (on the knee) and in the cello-like position. In the cello position, the instrument rests on a retractable foot or rests on the musician's calves. The neck is raised almost vertically, which makes it easier to press down the strings. They are therefore not pressed down solely by the use of muscle power, but also by the weight of the limb. Access to the strings when playing with your fingers is easier. The hand striking the strings is free, thanks to which the back muscles are additionally activated during the playing. This reduces the possibility of injury. The musician's posture is upright.

Besides the shape of the guitar it has other features to reduce fatigue. Frets of the guitar are positioned in a way that arranges the wrist in more natural and less stressed way. Neck of the guitar has also a asymetrical profile that is more fitted to the shape of human hand than traditional profile. It also provides support for the thumb in places where it is most often needed.