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.
