Balanced Triples

 

A couple of years ago, I converted a Martin X-model 12-string into a 15-string baritone with the addition of one string each on the first three courses (high E, B, G).  This created a layout of three triple courses and three double courses (D, A, low E).  It was an experiment to see if I'd like triple courses as much as I suspected, and to work with differing tunings on that 15-string platform.  I came to love triple courses, even though it required some new approaches in terms of technique.  Having a 6-course instrument with half of the courses as triples and half as doubles felt very balanced and right.

The triple course experiment was more successful than I'd hoped, so I decided to add a triple course to the 24-string Double Contraguitar.  The carbon fiber provided a sparkling and balanced platform for the new triple course.  Before long, I had added four triple-courses to this instrument.

I played it as a 28-string for over a year.  This was a 4/2 configuration, with four double courses and two triple courses per neck.  It was utilized in several recording sessions, and I really liked it.  However, there was always something about it that bothered me.  It took a while for that bother to rise to the surface and reveal itself, and turned out to be that I was missing the 3/3 configuration of the Martin X-15 wherein I have three triple courses and three double courses.  I decided to add two more strings so that each neck would have the 3/3 configuration with 15 strings on each neck.

About a month ago, I finished the work.  The former 28-string is now the 30-string Double Contraguitar.  It feels completely right and natural with the 3/3 configuration.  I've not been able to put it down, which is a good thing, as it's a new instrument to learn.  Not only in terms of technique, but also learning its voice.  It is perfectly balanced, as carbon fiber tends to be, and each note of each course speaks equally well with ideal balance and response.  The 3/3 configuration also feels perfectly balanced and exactly right. I am seeing this instrument in an entirely new light.  

The spacing at the nut isn't yet exactly right, but I've learned that finding the ideal nut spacing is an evolutionary and iterative process.

I have a new 30-string tuning for it that is working very well.  And am working on a new tuning for it that I may like a little better.  The string gauges aren't exactly right, but will be optimized over time.  Finding the perfect gauges and winding compounds for an instrument and a given tuning always takes time and several sets of strings.

It's all very exciting to me.  The new 30 will be utilized on some upcoming recording sessions that are scheduled.  I'm looking forward to them.  And looking forward to better learning its voice.

-kk