![]() ![]() The Quadrom Guitar, click for larger image Overall, I think it satisfies the parameters. The Blueburst fade also enhances the illusion of a teardrop. ![]() I also decided to round the body considerably, to keep things wet-looking, and used a teardrop ‘guts cover/pg’ and fluid Gotoh tuners, an oval face-jack and some ‘watery’ fretmarkers to keep the ‘hydraulic’ theme intact throughout. Since we were stuffing these two models together I thought I’d go to a three-by-three Vee’s ‘Arrowhead’ look, which was also leaned forward, but heavier on the bottom, to reflect the old Vox’s bulk there. I gave them a bit of a curve to animate them somewhat… I tried to mimic the splashes one sees in high-speed films of drops in a pan. You’ll notice I kept the horns well back from the neck-joint area, and this was to allow the teardrop shape to stay pronounced at both ends. Then I used that fleshy, ‘porpoise-full’ idea for the tips of my ‘Horns’. Next came the Vee cut, and I felt that maybe yours was slightly timid if we’re really going to end up suggesting a Vee, so I did a more severe cut, but softened, to accentuate the ‘liquid’ feel of a Drop. The VeerDrop Guitar, click for larger image I call forward-slanted bodies “Avid” types, as they seem excited to get at it. This also generally gives any guitar a forward-looking, revitalized feel that is rarely bad in a rework. One of the first things I noticed that the originals both have high-register access problems, so I also ‘italicized’ the body forward in order to minimize the intrusion there. So I set about it from scratch, and did the blue VeerDrop first… as the more rounded original is really the more signature, plectrum-shaped model. Additionally the variance between the curves on the ‘headward’ sides tends to make three bodies into four joined ideas, and three was plenty. Not that that’s necessarily bad on its face, but it’s just so different from the other. The bottom ‘ pistol grip‘ one looks like a bit of a leg-biter, and somehow, probably because the body is so like a nudibranch (sea slug), it reminds me of a Siphon on a Nautilus or a squid or something. More like the weight of the tip of the headstock. Looking at the Voxes, one sees a beefy, round sort of motif, and I would probably have made the top horn a good bit fatter… there’s room, and it shouldn’t compromise ergonomics up there. ![]() ![]() Self-referentiality is the hallmark of a ‘whole’ design, in any thing, like a car even. The Teardrop shape is there, even advanced by a forward thrust, but I couldn’t make myself love your ‘horns’, and I think this is why…įirst, there is the fact that the two horns are so diverse… I think they would be easier to graft into another ‘body’ if they were more similar. They’re effectively the same guitar, minus the Vee cut and the beveling of the top bass bout. There are a couple little things that bugged me about them. I dug up a pic of the actual Jetsons-era originals, and sat and looked at the Duality and Trinity for a while. Eight or ten hours later I had two versions worth looking at. With no offense intended, I began to consider how I might have attacked the problem. I’m another of that sort that wonders about guitar design… and I’ve been percolating on the Guitar Design Reviews previous notion of combining a Vox Teardrop/Phantom with a Flying Vee, with added top bouts (‘horns’). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |