The idea of applying an arch or a curve to the top is appealing because the added strength created by the arch makes it possible to use a thinner and more lightly braced top. While this is true, there remains a trade-off in applying a curve to the entire top. The most active part of the top is the area centered on the bridge. Applying a curve to this part of the top restricts movement resulting in a loss of dynamic range. On the other hand, the area of the top above the sound hole moves minimally but is problematic because it tends to sink if the guitar dries out even slightly.

This tendency is also encouraged by downward pressure from the fingerboard resting on top of it. The solution is a top that has a compound curve. In this design, the top is arched slightly in the area above the sound hole and levels out in the area around the bridge. The compound curve top produces excellent stability in the upper part of the guitar top and the power and projection made possible by leaving the top flat, below the sound hole. With the weak area above the sound hole stabilized, it is possible to make the rest of the top even more