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"black art?"

Written By: J. A. Whiteside

After much research and consultation with professional guitar and violin makers, I have concluded that the jury is still out on the benefits of tap tuning for guitar making. One issue is that, unlike the violin world (where there is an acknoweldged standard and good physics for excellent tone) no such standard exists in the guitar world. Indeed, different guitars are supposed to sound different and excellent tone is highly subjective. Some builders I know use tap tuning or other complex methods to try for tonal perfection, others simply tap the plates and listen for a "good" tone. I am not convinced the hair-raising complexity and expensive equipment needed to use Siminoff's method are worth while. Besides, whatever resonant frequencies the components have seperately change completely once the guitar is glued together.

World class guitarist Ed Gerhard made a CD (House of Guitars) on which he used a bunch of junky guitars bought at pawn shops and discount outlets. He didn't even change the strings. Yet the sounds are gorgeous. I think this proves that the skill of the perfomer (given a bascially sound guitar) totally overwhelms whatever contributions high tech plate tuning methods make.

"Must Have for Luthiers"

Written By: Kraig

Another great book for luthiers by Mr. Siminoff. It's a bit techy, but if you want to build great guitars (or any other acoustic stringed instrument), this is the stuff you need to go to the next level. The book will dispel the idea that tap tuning is a "black art" that only the gifted can practice, and put it squarely in the realm of possibility.

"Musical instrument construction"

Written By: J. E. Mcdevitt

Good for those of us who build but for whom the application of tap tuning is largely a mystery. Good science foundation by a proven master of the technique.

"The "magic" explained."

Written By: Stevan Rogers

This tutorial is a great resource for anyone who has ever had less than optimal results building a musical instrument. The "magic" of getting the best sound possible out of an instrument is explained in simple, easy to follow (and easy to repeat) steps. I wish I'd had this information many years ago. Even if you're not a builder, this book explains many things about how instruments "work". I would recommend this volume to anyone interested in understanding how the various parts of an instrument work together, to produce what we hear. This book will undoubtedly have a very positive impact on many instruments over the coming years. Well done Mr. Siminoff!