This innovation is a major breakthrough in guitar design. I discovered the effect when I was testing guitars in their building mould, which adds considerable mass to the sides of the guitar. The frequency response of the guitar was different when it was in the mould to when it was out of it. The effect can best be described using a firearms analogy. When you fire a gun the bullet accelerates out of the barrel and the shooter experiences a recoil from the gun – the gun accelerating towards the shooter. If you immobilise the gun e.g. by holding, say, the butt of a rifle against a tree, or by making the gun heavier, the gun accelerates backwards less and the bullet accelerates forwards more. Same with a guitar; make the sides heavier and the body of the guitar accelerates less and the top accelerates more. The more the guitar top accelerates under the string’s oscillatory forces the more sound is produced. Having observed the phenomenon experimentally, I proceeded to model it mathematically to understand whether the effect was real or just some strange aberration. It’s real. The concept can be used to great effect in shaping the volume and tone of a guitar. How much mass to add, where to apply it and how to apply it are critical to the effect produced. It is a benefit I have available as standard on all my guitars, classical and steel string and it is truly unique.