The next question was how to maximize the pumping area of the top so the instrument would have the acoustic resonance of a tenor body and not the sound of the smaller concert body. Daniel suggested eliminating the waist, giving a greater area for the bridge to vibrate the top, and exaggerating the arch of the back. Done! At this point, one could imagine a pineapple ‘ukulele.
Then, Daniel suggested the importance of having a wider butt on which to brace your forearm when playing.
Thus, the conception of the Tiny Tenor, with its powerful, crisp tone, comfortable feel, and compact proportions, was born.