When the strings are removed from the bridge and anchored to the top of the guitar, a lateral compression force is created. (To clarify, I am talking "compression of wood" within the soundboard, not "compression of tone or frequency"). When this is achieved, a fully energized soundboard is created. The design is extremely strong because the strings are anchored to the soundboard directly, near the outer edge of the top, in a fan-like pattern. The string pull is almost entirely lateral and is spread out over a much larger area of the top. Because there is very little stress on the center of the soundboard (which is the weakest and most flexible part), standard, heaver, 'X' bracing can be removed and replaced with a much more delicate and lighter bracing pattern. Internally, the new soundboard bracing pattern primarily uses two, semi-parallel braces (much like tone bars on an Archtop guitar) that start at the upper bout. They pass along the edge of the bridge, and end deep within the lower bout. This allows the string vibration to pass from the bridge to the two primary braces, traveling laterally, using the entire length of the soundboard.

Flattops with strings attached to the bridge pull from the center of the soundboard, which creates a very taut top. This makes 'true' acoustic bass reproduction very difficult. Most conventional acoustic construction will have a choked bass response the further you play up the neck. The soundboard is not allowed to vibrate (pump air) as well because the top is too tight. When you play the new 'icZ' Lateral Compression Soundboard, what you will hear is a new level of sonic purity. As I have mentioned, the purpose of extending the string below the bridge and attaching them to the top directly is to create lateral compression in the soundboard. I call it 'acoustical perpetuation'. The following is a analogy to better describe how a lateral compression works: When you detune a drumhead and tap it, you get very little sound - but when you tune it to pitch and tighten the drum head, volume is released and it becomes alive acoustically. This is exactly what occurs with my new, patented acoustical system. Tonally there is an extreme balance not only across the strings but also up the neck. Notes ring true past the fifth fret. The classic choked bass notes are freed...once and for all.

Another benefit to the design is a much more relaxed string feel to the player - especially when bending notes. Even though the Babicz guitar uses standard length strings, a longer portion of the string is used overall, (the core of the string is extended past the bridge). Musicians have commented on how 'buttery' the strings feel, and they thought that the gauges were .010" or .011", when in fact they were .012" or .013".

What's inside?
Many musicians ask " How are the string anchors attached to the soundboard and what keeps them from pulling out?" The string anchors are like threaded metal posts that pass completely through the soundboard and attach to special reinforcement plates inside the guitar. The 'Anchor Plates' are made of thin hardwood that is glued (cross grain like plywood) to the inside of the soundboard where the string anchors attach. The anchor plates carry out several functions. They provide support for the nut system that holds the string anchors in place. The anchor plates provide "cross grain" strength to the soundboard (like plywood) and because they are long, (joining three strings at a time), they distribute a much larger string pulling force to the soundboard, therefore helping activate better lateral compression. The string anchors don't pull out of the top because almost all of the string tensile force is lateral, meaning that there is no upward pull on the string anchors at all.

Torque Reducing Split Bridge

Continually Adjustable Neck

Introduction