ACOUSTICS
Detailed specs and info about all models can be found here.
The Inspiration
Our first acoustic tapping instrument was made around 1998, but long remained just an initial attempt, probing the possibilities. There have always been a couple of factors that made an acoustic tapping option attractive to us: Firstly, it can be a less than optimal experience practising unplugged with electric tapping instruments, and frustrating to always having to plug them in to an amp or use earphones. Secondly, the mellower sound of tapping with nylon strings has always been alluring. From the production of our early electric models (around 2010) it was only natural to also experiment with the idea of an acoustic, nylon-string instrument designed for tapping.
With a couple of smaller prototypes under our belt (and some very rough videos trying to promote the idea) we eventually got one order … that later got cancelled! Thankfully (in 2019) Rodrigo Serrão was brave enough to take the plunge and ordered a 10-string version. Subsequently he and Mike Hoegeman were instrumental (no pun intended!) in moving us firmly toward the more stickist friendly 10 & 12 string configurations. From there we have continued the evolution, refining and expanding the design in the pursuit of the best possible acoustic tapping experience for players all over the world.
The Design
Our acoustic models are designed primarily to be played while seated, with the instrument between the legs (cello style). The adjustable carbon fibre endpin/spike facilitates maintaining the instrument at an appropriate height, but with the latest iterations (as of 2025) can also act as a rigid central structure for mounting to an external stand for strap-free playing in a standing position (ask us for details!). A strap can also be used in various ways, but this will all depend on the individual players approach (addition of strap buttons will be required!).
Within the constraints of physics (and available strings!) these models endeavour to optimise the acoustic response elicited from the tiny vibrational energy generated from each tapped note. Because this energy is so low, compared to say plucking or strumming or bowing, the consequential noise of the impact of the fingers themselves and/or the ‘string squeak’ generated is proportionally greater and can be annoying when amplified. These generally undesirable noises can be minimised by a combination of controlled technique and the use of flat wound or polished strings where appropriate …the mellower sound of ‘broken-in’ bass strings also tends to be more favourable.
The overall acoustic volume produced is relatively low (compared to say a regular guitar) but more than adequate for practising or playing together with another quiet instrument, projecting a very pleasant and balanced tone. Its most likely that at some stage you will want to amplify the instrument. The K&K Pure Classic pickup is installed as standard issue, with the possibility of adding an internal condenser mic (Trinity) or combining with the UltraTonic anti-feedback circuit as optional extras.
The Building Process (and beyond)
Each instrument is handcrafted one at a time. While this is indeed a deliberately slow, one man process, it also ensures that the greatest attention is given to each clients needs. Once we have settled on the woods to be used from our limited yet focused selection of well seasoned timbers, the build usually takes around 3 months from start to finish. There is however a short waiting list, with an approximate wait time of somewhere between 12-15 months before your instrument can be started. A deposit of $600 is required to get on that list and maintain your place in the queue.
Once your build has been initiated you can expect regular photo/video updates until its completion. Shipping and payment options will be discussed and organised as the process moves forward. At any time you should feel free to ask Mark about any details your build. There is also a growing (though admittedly clumsy) body of info to be found by joining our Facebook ‘DF-Acoustic’ group. There’s also a large collection of albums and photos of finished instruments associated with our Facebook page.
Your finished DF-Acoustic will be a fine and sensitive musical tool, and as such it will need a certain amount of care to ensure years of enjoyment to come. A small amount of seasonal movement in woods is normal (for example fret sprout can probably be expected sooner or later) and over the years there may also be ‘creep’ in certain glue joints. Unnecessary prolonged exposure to high or low temperatures or relative humidity must be avoided. We thoroughly recommend using some sort of humidity control system with your instrument. The double-action truss rod is there to provide a degree of adjustiblity for neck relief, however in most cases it will not be an issue to fuss over it. A classical style, nylon string instument like this is much more forgiving in both intonation and action than its electric counterpart. Regular wiping down of the strings and neck will also help prolong string life and maintain the finish, along with occasional application of beeswax paste (or similar) followed by buffing.
CONTACT US
Have any questions or ideas about an acoustic instrument for yourself or someone else?
Don’t hesitate to get in touch.