ds6 tirga mhor
june 2019
The predecessors to the DS6 Tirga Mhor were the DS3 and DS4. These guitars were both built with Martin Simpson’s playing style in mind. They both had a lot of spit and power at the front of the note, with a very large dynamic and great separation. In the DS6, we wanted to mellow out the attack of the guitar but keep the dynamic and separation. This was achieved by changing the neck angle and thus, the bridge height relative to the soundboard. We also changed the curvature of the soundboard in front of the bridge which helped to loosen up the attack. Another notable change in the DS6 was the side-unit construction. This was the first guitar where we used fully-kerfed sides in Scottish Larch, this side-construction having been pioneered by Jeremy Clark of 52 Instruments and now features as an optional side construction on all models. The reason to use this side-unit construction is because it is incredibly light and stiff and gives both the soundboard and compression braced back a platform to vibrate as freely as possible.
A few words from our friend and the owner of the DS6, Ian Brown:
‘DS6 Tirga Mhor
On the third Saturday in July, every year, I host a bash at our house targeted at guitar afficionados and builders alike. Over the years, it has become something of an institution and attracts people from far and wide. Rory attended last years do (and the one before) and brought with him a guitar that he'd recently completed, though not as a commission. It was a Tirga Mhor, a model inspired by his on-going collaboration with Martin Simpson, one of the UK's finest guitar players. I introduced Rory and Martin to each other about eight years ago when Rory put out a 'road trip' instrument which travelled the length and breadth of the UK to a number of UK guitarists, Martin included.
The guitar that Rory brought with him turned more than a few heads. Fashioned from a stunning set of Malaysian Blackwood and featuring a master grade Adirondack spruce top, it not only looks the part, but sounds wonderful as well. I got to play it properly on Sunday morning when it was handed to me to evaluate. I was pretty well smitten with its playability, looks and sound. I then learnt that at least a couple of others had shown serious interest in the guitar and so it left the house...
The guitar eventually landed with a good friend of mine who very, very reluctantly decided that the nut width was just a tad too tight for him, he plays a lot of classical guitar and is therefore used to a fretboard akin to an eight lane highway! As a result, I picked it up and brought it back to Hampshire, played it intensively for a couple of weeks and then had a conversation with Rory, the outcome of which is that it has become a valued member of my guitar collection.
It's a great guitar, greater than the sum of its parts and I am extremely happy to have it. It is also a fitting conclusion to the story that started all those years ago when Rory got to know Martin as a result of my introduction. Rory has documented at length the story of the Tirga Mhor, how it came about and what makes it what it is.
In short, Taran guitars are world class, it's that simple and straightforward.
Ian Brown
(in lockdown late April 2020...)’