When I designed this model in 2000 I constructed the interior of the body to withstand high sound pressure levels. I wanted a semi-hollobody that could be played at concert levels with controlled feedback. Instead of building it like a 335, I used integral soundposts. All my semi-hollobodies are a through neck design, so I had two soundposts carved into the back that got glued to the through neck. I also had two soundposts carved from the top under the bridge and two soundposts carved from the top under the tailpiece. I also had a thin layer of wood around each pickup. This design allowed enough air in the body cavity to sound semi hollow without a lot of feedback at high volumes.

As the years went on I noticed players gravitating towards smaller amps and less volume. So in about 2019 I did away with the soundposts in the back but left the soundposts in the top as well as the wood for the pickup cavities. Not only were players playing more quietly in their bedrooms but also I noticed that bands were playing quieter in clubs. That made me decide to take my semi hollowbodies a step further and do away with the soundposts under the bridge and the pickup cavities, so now the only thing left are two soundposts under the stop tailpiece making the guitar far more open and woody sounding. I also changed my control layout so the volumes and tones are laid out more like a Gibson than a PRS. And I did away with the Fender style blade switch and used a 3 way toggle switch and put it in the location of a 335. This now allowed me to add a pickguard to the guitar which I could not do in the older design.

When I designed this model in 2000 I constructed the interior of the body to withstand high sound pressure levels. I wanted a semi-hollobody that could be played at concert levels with controlled feedback. Instead of building it like a 335, I used integral soundposts. All my semi-hollobodies are a through neck design, so I had two soundposts carved into the back that got glued to the through neck. I also had two soundposts carved from the top under the bridge and two soundposts carved from the top under the tailpiece. I also had a thin layer of wood around each pickup. This design allowed enough air in the body cavity to sound semi hollow without a lot of feedback at high volumes.

As the years went on I noticed players gravitating towards smaller amps and less volume. So in about 2019 I did away with the soundposts in the back but left the soundposts in the top as well as the wood for the pickup cavities. Not only were players playing more quietly in their bedrooms but also I noticed that bands were playing quieter in clubs. That made me decide to take my semi hollowbodies a step further and do away with the soundposts under the bridge and the pickup cavities, so now the only thing left are two soundposts under the stop tailpiece making the guitar far more open and woody sounding. I also changed my control layout so the volumes and tones are laid out more like a Gibson than a PRS. And I did away with the Fender style blade switch and used a 3 way toggle switch and put it in the location of a 335. This now allowed me to add a pickguard to the guitar which I could not do in the older design.