Classical Guitars: Trinity Guitars Player Response Model

The Player Response Model was born out observations from James Piorkowski. He commented that the sound experience in front of the guitar, from the audience's perspective, was richer that that of the player's own perspective. Piorkowski played a seven string guitar built by Holler with The Buffalo Guitar Quartet and wanted a six string for solo work. The idea for the solution was simple enough: create a second sound hole in the side of the guitar to allow the player to hear the guitar as if standing in front of it. The execution, however, required subtle modification to the top bracing and structural reinforcement of the side of the guitar where the hole was to be cut. The design intent was to keep the sound in front of the guitar unchanged while enhancing the sound from the player's perspective. The results were overwhelming. To quote James, "Why would you not want this?" Not only did the sound from the front of the guitar remain uncompromised, but there was also the positive effect of a deepening of the treble and mid range of the guitar. Half of all Trinity Guitars built after the initial prototype have been commissioned with the Player Response System.

For examples of the Player Response Model, see Trinity Guitars #47 and #61.

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