The Technology behind the Instrument

We at Etavonni know that stringed instruments can be greatly improved by utilizing the best attributes of the past and infusing updated technology and materials. When you pick up an Etavonni, you'll find our instruments have a familiar shape, weight, and feel. You'll also immediately see the use of non-traditional materials.

Although Etavonni instruments are wonderful to gaze upon, that beauty is much more than skin deep. Over 800 hours goes in to creating one of these works of art. The attention to detail, fine craftsmanship and engineering make each instrument a playing experience. When you hear the wide tonal pallet, and feel the incredible level of craftsmanship, you'll realize what makes these instruments so special. Less than 25 are made a year and all are individually serial numbered for collectors.

How it Works

There is an enormous amount of technology in the Etavonni design. An aluminum body shell is machined out of a solid piece of aluminum. This process alone can take over 6 hours to complete. Each instrument has purposeful tone chambers that are formed when the top panels are bonded into the body shell. When the back is sealed, the chambers are closed except for a few ported holes. These ported chambers are engineered to precise volumes and tuned to specific frequencies that are highly sought after by guitar tone experts. The vibration of the strings against the unique carbon fiber top panels excites the air molecules inside the tone chambers which then resonate at their appointed frequencies. This is what brings out the wonderful natural full rich tone from the instrument.

However, this is just the beginning. There is still over 800 hours of processing time and hands on craftsmanship that goes into the instrument after this process.

Why hasn't this been done before?

Luthiers have tried for decades to capture this type of sound using tonewoods. The problem is, wood is an imperfect materials. No two pieces are ever the same. A good balanced tone is usually an accident, and seldom-repeated with wood. That's why certain individual wood instruments are so coveted. Our materials, on the other hand, are quite predictable and very controllable. We can mathematically work out the exact tone of an instrument before we ever build it - no more guessing or hoping for that one great instrument.

Woof

As many players know, hollow bodied electric instruments are susceptible to feedback at louder volume levels. Again, since it's very difficult to control the inconsistencies of wood, not only can two of the same model instrument sound different, but they often have different resonant frequencies. Commonly referred to as "woof " tones, these frequencies can cause the instruments to feedback at different notes. This drives players and sound engineers crazy. By utilizing stable, predictable materials, we can dictate the resonant frequencies, and produce an instrument that has controlled, natural harmonics.

Stability

Another problem with traditional instrument materials is instability. Seasonal temperature and humidity changes are the bane of wood instruments. Imagine the environmental changes when your instrument goes from the relatively stable environment of your home, to your car, to a gig with a slew of screaming sweaty partiers. This is why wood instruments are always out of tune, and out of proper adjustment. Enter the Etavonni design with its carbon fiber and aluminum construction. You could take this instrument from Antarctica to the Congo and it wouldn't go out of tune. It would remain set up just the way you like it with no action issues.

Check Your Pulse

Etavonni is not for the faint of heart. These instruments are the pinnacale of musical sound engineering-artistry. They are designed and sculpted by artistic geniuses who have the experience, the devotion, and the ability to produce the most unique work of art you will ever own.

Resonant Frequencies

We selected a 1959 Gibson Les Paul from an area guitar emporium, and anylized it's resonant frequencies. You can see the resulting tone curve below.

Next we took a 1960 Fender Stratocaster, and analyzed its resonant frequencies.

We then overlaid these two instrument's tone curves to create a hybrid frequency tone curve. This new tone curve was then engineered into an Etavonni guitar. When the new instrument's resonant frequencies were analyzed, the result was a beautifully balanced sound with elements of both of the original classic instruments.