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When I am voicing my tops by tapping, I usually will rest it loosely on my extended thumb. I have my ear on the braced side and tap on the other side right around the bridge plate.
The tone I'm listening for is not important (well, of course it is important, but just not for this discussion) and is too much info to get into. For this topic, I'm strictly focusing on the method and not the end result.
My thinking is that this (loosely on my thumb) is the only really consistent way of holding it I can come up with and tapping on the bridge location will approximate where the energy of the vibration will originate. I have noticed that gripping or pinching the top vs. resting it loosely gives distinctly different tones.
I'm wondering what methods are used by some of you.
TIA
-j.

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“If God dwells inside us like some people say, I sure hope He likes enchiladas, because that's what He's getting”
-jack handy

I form an L shape with my thumb and fingers, put my thumb through the hole , and hang the top on my out reaching thumb ,near the crook formed, seems to vibrate nicely no matter where I tap the top ... Jody

I'm a thru-the-hole guy too, Jack.

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Mike

"The Dude abides. I don't know about you but I take comfort in that. It's good knowin' he's out there. The Dude. Takin' 'er easy for all us sinners. Shoosh." The Stranger

Upper bout, abut an inch above the waist and about two inches in from the edge. Move around a bit until you find the node.

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Howard Klepper
http://www.klepperguitars.com

When all else fails, clean the shop.

I always hold the top close to a nodal point which is about where Howard is holding his tops. Any flat plate that is acticvated to vibrate will vibrate in a pattern that creates..or leaves....nodes or nonvibrational areas.

As you hold the plate close to or in a node you allow it the vibrate freely while tapping it anywhere on the surface with minimal muting.

Suspending it from the soundhole actually puts your contact point in the vibration pattern and can present a little more muting, but if it works for you, hang it on your finger or thumb.

Regards,
Kevin Gallagher/Omega Guitars

I hold the tops like Howard. The node will be in a slightly different location for different size bodies. I knock and drag my fingers on and around the bridge location and lower bouts, and pretty much everywhere. I sometimes hold the backs from the lower bout, either way I tap behind each brace.

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Laurent Brondel
West Paris, Maine - USA
http://www.laurentbrondel.com/

What Howard said. This is explained in Bennedetto's book too. I look at the top and divide it in half and then I divide the upper half in half - this is done visually. Once I find the point 1/4 of the length of the top down from the top of the top I hold it there and move in an inch or so as Howard said. This spot is usually just below the transverse brace on either side.

I do what Howard, Hesh, and others do. I can usually find the node very quickly. Now you can start talking about the "ping" you are listening for?

Mike, that was funny

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Tracy
http://www.luthiersuppliers.com

Put the top on the guitar and voice it. Then you don't have to worry about where or how to hold it. Just leave it in the mold, turn it on its side and tap.

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"An adventure is only an inconvenience rightly considered. An inconvenience is an adventure wrongly considered." G. K. Chesterton.

That WAS funny. I think he's referencing a different post.
As far as "ping", Tracy, I think it should sound something like MMMMMMmmmmm....with a nice resonant undertone and a pingy overtone that dies off smoothly, but not too quickly. Sort of like a golf shot that you hit short, but then let it roll long.......
Um, yeahhhh....thats why I DIDN'T want to get into the end product thing.

-j.
No, it doesn't stand for the name of the man whom I quote below, but that WAS a good call-back, Mike.

_________________
“If God dwells inside us like some people say, I sure hope He likes enchiladas, because that's what He's getting”
-jack handy