No. 47 started from a single request: the player’s previous instrument ran out of clarity above the twelfth fret exactly where a lot of concert repertoire lives.
We voiced this top on the bench using the same Chladni method described elsewhere on this site — checking the plate’s mode patterns at several frequencies before committing to final thickness, rather than relying on tap-tone alone. The final plate runs slightly thinner toward the upper bout than our usual graduation, which is what opened up the treble response the player was after.
East Indian rosewood back and sides, European spruce top, French-polished — about four months from first billet to finished instrument.