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Helmholtz resonance, tap tones, Chladni patterns, top deflection specifications, tone bar placement, strutting configurations, back plate reflective properties, top radius, frame stiffness, scale length, bridge mass, saddle downbearing, soundhole aperture, finish thickness & flexibility, vibration absorption qualities of glue, machine head mass, top plate strength-to-weight ratio, tonewood species … would you believe that these are just SOME of parameters to consider when building a guitar?

It just struck me that when I play an instrument made by G.W. Barry, I don’t have any of my usual questions. You know … questions like “I wonder if I used heavier strings if I’d get more oomph out of the bass?” or “Why do the strings feel so stiff on this thing” or even “Why does this guitar react so much better to a light attack with fingers but not so well with a moderately aggressive pick attack?” There are definitely no questions with this guitar! This is definitely not one of those instruments that five minutes after you first start playing it, you find yourself thinking about the next guitar you want to buy!

OK, I think I’ve finally figured it out. For years I have been wondering how G.W. Barry gets his sound. This builder has been quietly devoting all of his waking hours for the last twenty-eight years to building the best sounding flattop steel string guitars possible and has successfully created his own totally unique sonic fingerprint … not an easy thing to do!