2. C O N T
C O N T E N T S
E N T S
I N T E R
I N T E R V I E W S
V I E W S
L E S
L E S S O N S
S O N S
Ervin Somogyi
Ervin Somogyi
28-113
28-113
Celtic Guitar Masterclass | Anton Emery
Celtic Guitar Masterclass | Anton Emery 22-27
22-27
Artistr
Artistry of the Guitar | Ken Bonfield
y of the Guitar | Ken Bonfield 114-117
114-117
Fre
Fretboard Mastery |
tboard Mastery | Jose Bernardo
Jose Bernardo 118-121
118-121
3. T H E
T H E I N T E R V I
I N T E R V I E W:
E W:
E R V I N
E R V I N S O M O G Y I
S O M O G Y I
4. Tank you so much or speaking to us, Ervin.
Tank you so much or speaking to us, Ervin.
A lot o us look up
A lot o us look up to you as a pioneer in
to you as a pioneer in
lutherie and I was wondering i you could
lutherie and I was wondering i you could
give us a sense o how
give us a sense o how you got started and
you got started and
how things were or you at that time?
how things were or you at that time?
I was born in Hungary;
I was born in Hungary; my amily and I
my amily and I
immigrated to this country in 1959. As
immigrated to this country in 1959. As
immigrants, my parents had the
immigrants, my parents had the common
common
high aspirations o social and educational
high aspirations o social and educational
achievement or their son. Tey
achievement or their son. Tey accordingly
accordingly
planned an academic-proessional career or
planned an academic-proessional career or
me, preerably a medical one.
me, preerably a medical one.
An interest in making guitars
An interest in making guitars would have
would have
been incomprehen
been incomprehensible to them.
sible to them. Indeed, when
Indeed, when
I turned my attention to this
I turned my attention to this work in my
work in my
twenties it baffled
twenties it baffled them completely
them completely. I I
. I I had told
had told
them that I’
them that I’d decided
d decided to raise rabbits in
to raise rabbits in Siberia
Siberia
it could not have conused them more; we had
it could not have conused them more; we had
never known anyone who had had the
never known anyone who had had the slightest
slightest
connection with instrument making.
connection with instrument making.
As things turned out, I allll
As things turned out, I alllllmmossst made it to
lmmossst made it to
medical school; i
medical school; i I had then you and I would
I had then you and I would
not be having this
not be having this conver
conversation. I dropped out
sation. I dropped out
o that track at the last moment, however. I
o that track at the last moment, however. I
had a crisis in
had a crisis in my ourth year o college, which
my ourth year o college, which
led me to drop out o the pre-med track and
led me to drop out o the pre-med track and
ocus on Humanities studies. I
ocus on Humanities studies. I graduated rom
graduated rom
college with a
college with a Bachelor’
Bachelor’s degree i
s degree in English.
n English.
Tere ollowed a ew
Tere ollowed a ew years o comparative
years o comparative
aimlessness or me, during which I did the
aimlessness or me, during which I did the
dance o finding something that made personal
dance o finding something that made personal
sense, and having “a normal lie”.
sense, and having “a normal lie”.
Tat dance is done between the worlds o
Tat dance is done between the worlds o
having everything decided or one and the
having everything decided or one and the
world o having nothing decided or one, and
world o having nothing decided or one, and I
I
think most young people do this d
think most young people do this dance in one
ance in one
orm or another
orm or another. Unstructured time can
. Unstructured time can be hell
be hell
or some people, and I certainly experienced
or some people, and I certainly experienced
doubts and misgivings in this perio
doubts and misgivings in this period. It was
d. It was
a blessing in
a blessing in disguise in
disguise in my case, however: I’
my case, however: I’d
d
never in my previous lie really
never in my previous lie really had completely
had completely
ree, unstructured time.
ree, unstructured time.
Having always been conscious o other people’s
Having always been conscious o other people’s
needs and priorities, I did not have a clear
needs and priorities, I did not have a clear
sense o whether these, or which o these,
sense o whether these, or which o these, were
were
actually my own. It was within this matrix o
actually my own. It was within this matrix o
unstructured time that I
unstructured time that I built my first guitar.
built my first guitar.
I did it as a
I did it as a hobby project, and thereo
hobby project, and thereore it is
re it is
truthul to say t
truthul to say that my career in lutherie was
hat my career in lutherie was
accidental and unplanned.
accidental and unplanned.
5. O course, that would have been
O course, that would have been true o anyone
true o anyone
in those days: guitar making by individuals
in those days: guitar making by individuals
simply did not exist in any orm, much less as a
simply did not exist in any orm, much less as a
goal to strive or.
goal to strive or.
Tat first guitar making project o mine didn’t
Tat first guitar making project o mine didn’t
come out o a vacuum, though. It had its roots
come out o a vacuum, though. It had its roots
in the act that a lot o my childhood had been
in the act that a lot o my childhood had been
(or various reasons that I had no control o)
(or various reasons that I had no control o)
rather ull o isolation and solitude, in which
rather ull o isolation and solitude, in which
I’d spent a great deal o time being my own
I’d spent a great deal o time being my own
entertainment and source o sti
entertainment and source o stimulation.
mulation.
I read books, built mo
I read books, built models and kits, worked
dels and kits, worked
in modeling clay, whittled and carved wood,
in modeling clay, whittled and carved wood,
assembled things with an erector set, made
assembled things with an erector set, made
plaster casts, collected stamps and
plaster casts, collected stamps and coins and
coins and
things, used woodburning tools, etc. I used the
things, used woodburning tools, etc. I used the
manual skills that I’d learned as a boy, to build
manual skills that I’d learned as a boy, to build
that first guitar. And, in doing so, I
that first guitar. And, in doing so, I ound a way
ound a way
whereby I could appl
whereby I could apply those early skills
y those early skills to an
to an
occupation that offered some
occupation that offered some things I
things I couldn
couldn’t
’t
find in one package
find in one package anywhere else: a haven.
anywhere else: a haven.
Besides being a personal haven, guitar making
Besides being a personal haven, guitar making
is genuinely challenging, and it
is genuinely challenging, and it offers the
offers the
satisaction o creating something tangible.
satisaction o creating something tangible.
It also offers some really interesting mental
It also offers some really interesting mental
and conceptual challenges that pull rom
and conceptual challenges that pull rom
woodworking, history, physics, acoustics,
woodworking, history, physics, acoustics,
music, engineering, art,
music, engineering, art, design, one’
design, one’s sense
s sense o
o
spatial relationships, and
spatial relationships, and even spirituality. In
even spirituality. In
addition, lutherie offers a remarkably ree rein
addition, lutherie offers a remarkably ree rein
to one’s imagination; the work has no creative
to one’s imagination; the work has no creative
ceiling and you can improve your work orever
ceiling and you can improve your work orever
i you want to;
i you want to; and, as with b
and, as with being an author
eing an author,
,
one can do this by one’s sel.
one can do this by one’s sel.
Tere’s more. I one likes to teach and write,
Tere’s more. I one likes to teach and write,
lutherie offers lots o things to write about and
lutherie offers lots o things to write about and
otherwise share. And it does t
otherwise share. And it does these things pretty
hese things pretty
much without the world o academia, business,
much without the world o academia, business,
or bureaucracy’
or bureaucracy’s infig
s infighting and resistance
hting and resistance to
to
lateral thinking --
lateral thinking -- which I’
which I’d already seen
d already seen a bit
a bit
o. Finally, lutherie has held
o. Finally, lutherie has held my interest even
my interest even
though some very difficult
though some very difficult times when there
times when there
was no money and
was no money and I elt completely bewildered
I elt completely bewildered
by repeated ailures.
by repeated ailures.
Tose difficult times also
Tose difficult times also include having
include having
depressions. (Te reasons or these are deep
depressions. (Te reasons or these are deep
inside me, and I continue to suffer rom them.
inside me, and I continue to suffer rom them.
For anyone who’s interested, I’ve touched on
For anyone who’s interested, I’ve touched on
these matters more ully in other
these matters more ully in other writings that
writings that
can be ound in
can be ound in the “articles
the “articles” section
” section o my
o my
website.) As I said above, making guitars has
website.) As I said above, making guitars has
also been a
also been a reuge rom the world that I could
reuge rom the world that I could
withdraw into when it has become to
withdraw into when it has become too much
o much
or me.
or me.
On the other hand, since making guitars by
On the other hand, since making guitars by
hand made no sense
hand made no sense to my parents, there
to my parents, there
was also a way in
was also a way in which it was problematic
which it was problematic
or me. What I mean is that, all the personal
or me. What I mean is that, all the personal
satisactions aside, no real history
satisactions aside, no real history or context
or context
or such work existed then. Not in
or such work existed then. Not in this country.
this country.
With the exception o the oddball
With the exception o the oddball crafsman
crafsman
who made a ew instruments -- mostly violins,
who made a ew instruments -- mostly violins,
but also a ew guitars and mandolins -- guitars
but also a ew guitars and mandolins -- guitars
were the domain o the ac
were the domain o the actory
tory.
.
6. Tere were no American guitar making s
Tere were no American guitar making schools
chools
or teachers, no lutherie books, no guitar
or teachers, no lutherie books, no guitar
magazines, no plenitude o gu
magazines, no plenitude o guitar players, no
itar players, no
guitar making organizations, no instructional
guitar making organizations, no instructional
videotapes or DVDs, no internet, no discussion
videotapes or DVDs, no internet, no discussion
orums, no really good American guitars to
orums, no really good American guitars to
emulate or copy, no guitar shows or estivals,
emulate or copy, no guitar shows or estivals,
and there were very ew
and there were very ew other guitar makers
other guitar makers
who knew anything or would share their
who knew anything or would share their
knowledge with you.
knowledge with you.
Tings got a real boost in the early 1970s
Tings got a real boost in the early 1970s
with the ormation o the Guild o American
with the ormation o the Guild o American
Luthiers. Tis organization was a lie-saver or
Luthiers. Tis organization was a lie-saver or
us young woodworkers: it became the
us young woodworkers: it became the nucleus
nucleus
or those o us crazy enough to do this oddball
or those o us crazy enough to do this oddball
work to coalesce s
work to coalesce some sense o proessional
ome sense o proessional
identity around (I have posted an article
identity around (I have posted an article about
about
the history o the G.A.L.,
the history o the G.A.L., and my relation
and my relationship
ship
with it, on my website or anyone who is
with it, on my website or anyone who is
interested in that topic).
interested in that topic).
On the other hand, i making guitars was
On the other hand, i making guitars was
something that I simply liked doing, I believe
something that I simply liked doing, I believe
that a lot o us in t
that a lot o us in those early days were doing
hose early days were doing
it or much the same reason. Tis actor is
it or much the same reason. Tis actor is
significant, I think.
significant, I think.
Te phenomenon o young men doing
Te phenomenon o young men doing
something that “they liked” very likely
something that “they liked” very likely arose
arose
out o the singular act that, or the first time
out o the singular act that, or the first time in
in
many generation
many generations, there was a
s, there was a lack (at least in
lack (at least in
the middle-class population) o overwhelming
the middle-class population) o overwhelming
need to struggle or economic survival.
need to struggle or economic survival.
For young white urban men, at least,
For young white urban men, at least, there was
there was
a sense
a sense that we wouldn
that we wouldn’t starve regardless o
’t starve regardless o
what we did: the social
what we did: the social and economic outlook
and economic outlook
o post-world-war-2 American middle-class
o post-world-war-2 American middle-class
culture seemed bright and ull o confidence.
culture seemed bright and ull o confidence.
Had this not been the case, all o us would
Had this not been the case, all o us would
certainly have gotten “regular
certainly have gotten “regular” jobs with
” jobs with which
which
to support our amilies . . .
to support our amilies . . . just as our own
just as our own
parents had, and their parents beore them had.
parents had, and their parents beore them had.
And non-European lutherie would never have
And non-European lutherie would never have
been born.
been born.
Aside rom any instruments that had be
Aside rom any instruments that had been
en
made in s
made in some exotic workshop in Europe
ome exotic workshop in Europe
(which has a
(which has a centuries-long tradition o hand-
centuries-long tradition o hand-
crafsmanship) every guitar any American had
crafsmanship) every guitar any American had
ever heard o came off t
ever heard o came off the production floor o
he production floor o
the Martin, Gibson, Guild, Harmony, Fender,
the Martin, Gibson, Guild, Harmony, Fender,
Stella, or
Stella, or Epip
Epiphone companies.
hone companies.
I have become a pioneer, teacher, and authority
I have become a pioneer, teacher, and authority
in this work based in
in this work based in the things I’ve learned
the things I’ve learned
in the orty-plus years that have passed since I
in the orty-plus years that have passed since I
began, but I certainly didn’t know what I was
began, but I certainly didn’t know what I was
doing then. And, un
doing then. And, unlike the situation today,
like the situation today,
there was no lutherie awareness or culture to
there was no lutherie awareness or culture to
help with that.
help with that.
7. Lutherie has moved on by leaps and b
Lutherie has moved on by leaps and bounds
ounds
since your early days in this work -- especia
since your early days in this work -- especially
lly
with educators like yoursel. Can
with educators like yoursel. Can you say
you say
something about what you’re doing now with
something about what you’re doing now with
your book and workshops?
your book and workshops?
My book (it’
My book (it’s actually
s actually a two-volume set) is
a two-volume set) is
not selling in large numbers, but it is selling
not selling in large numbers, but it is selling
steadily
steadily. It seems to
. It seems to be generally well regarded;
be generally well regarded;
I’v
I’ve packed orty-plus years o le
e packed orty-plus years o learning and
arning and
inormation into it about the ins
inormation into it about the ins and outs o
and outs o
making guitars, and I get a air
making guitars, and I get a air amount o email
amount o email
acknowledging how useul my explanations are
acknowledging how useul my explanations are
toward clearing up various aspects o
toward clearing up various aspects o the work
the work
that people have ound conusing.
that people have ound conusing.
I think it’
I think it’s a big
s a big help that I use
help that I use everyday
everyday
language and give down-to-earth examples
language and give down-to-earth examples
o things that other books report on with
o things that other books report on with
sometimes obscure and technical language.
sometimes obscure and technical language.
Outside o that, my book is expensive and
Outside o that, my book is expensive and
represents much more o an investment than
represents much more o an investment than
the average book
the average book does; it’
does; it’s priced
s priced very much
very much
like a college textbook. But then again, it is
like a college textbook. But then again, it is
precisely a textbook.
precisely a textbook.
I’m writing a third volume, by the way. I’m
I’m writing a third volume, by the way. I’m
finding that there’s always one more thing to
finding that there’s always one more thing to
think about, or write about, or ask questions
think about, or write about, or ask questions
about, or even re-think.
about, or even re-think.
In mentioning my workshops, I think you’re
In mentioning my workshops, I think you’re
reerring to my annual voicing classes. I seem
reerring to my annual voicing classes. I seem
to have put mysel in the unique position o
to have put mysel in the unique position o
becoming a guide in
becoming a guide in the voicing o the guitar --
the voicing o the guitar --
as compared with the building and
as compared with the building and assembling
assembling
o it.
o it.
My inter
My interest in this level o g
est in this level o guitar making
uitar making
work has been at t
work has been at the ront and center o
he ront and center o
my thinking or many years now; the act
my thinking or many years now; the act
is that guitar making is rather like making
is that guitar making is rather like making
automob
automobiles in
iles in that there are so many aspects
that there are so many aspects
o that work that one can ocus on: one can
o that work that one can ocus on: one can
be primarily concerned with the challenges
be primarily concerned with the challenges
o efficiency in production; or the demands
o efficiency in production; or the demands
o ergonomic design; or the
o ergonomic design; or the problem
problems o u
s o uel
el
efficiency; or t
efficiency; or the concerns o suspension and
he concerns o suspension and
driver comort; or the problems o brand
driver comort; or the problems o brand
recognition, brand loyalty, and market share;
recognition, brand loyalty, and market share;
or the problems o mechanics, engineering,
or the problems o mechanics, engineering,
power and maneuverability; or
power and maneuverability; or the problems
the problems
o impact saety . .
o impact saety . . . you get the point.
. you get the point.
“
“the act is that guitar
the act is that guitar
making is rather like
making is rather like
making automobiles in
making automobiles in
that there are so many
that there are so many
aspects
aspects o that work that
o that work that
one can ocus on
one can ocus on”
”
8. But within that context I, personally, seem to
But within that context I, personally, seem to
have been most ascinated by
have been most ascinated by the problems
the problems
o sound -- and also
o sound -- and also the problems o artistry/
the problems o artistry/
aesthetics. I’ve never been ascinated by t
aesthetics. I’ve never been ascinated by the
he
problem
problems o
s o how many guitars I
how many guitars I can produce
can produce
within a given span o time; I’ve been making
within a given span o time; I’ve been making
guitars since 197
guitars since 1970 and I’m presently working
0 and I’m presently working
on guitar No. 445 (in total), so
on guitar No. 445 (in total), so you can do some
you can do some
math and figure out my rate o production –
math and figure out my rate o production – ar
ar
less than one a month i you actor in the
less than one a month i you actor in the man-
man-
hours, considering that I
hours, considering that I have appr
have apprentices and
entices and
helpers who are part o my production process.
helpers who are part o my production process.
You’ll have to take my word about my
You’ll have to take my word about my
successes in the tone department, but the
successes in the tone department, but the
artistry and aesthetics
artistry and aesthetics are viewable on my
are viewable on my
website, or anyon
website, or anyone who is
e who is curious about how
curious about how
my guitars look.
my guitars look.
Despite the act that
Despite the act that I’v
I’ve written about seven
e written about seven
hundred pages worth o inormation about
hundred pages worth o inormation about
different ways o coaxing sound out o a
different ways o coaxing sound out o a
soundbox, the gist o it is:
soundbox, the gist o it is: dare to make your
dare to make your
construction light. Most guitars that are made
construction light. Most guitars that are made
these days
these days are seriously overbuilt. However
are seriously overbuilt. However, the
, the
guitar does not need to b
guitar does not need to be over-con
e over-constructed in
structed in
the same way that bridges and buildings need
the same way that bridges and buildings need
to be sturdily built.
to be sturdily built.
Te guitar is a unique engineered construct
Te guitar is a unique engineered construct
that does have to be tough and durable in
that does have to be tough and durable in
specific places (it has to hold together), yet it
specific places (it has to hold together), yet it
must be responsive and thereore delicately,
must be responsive and thereore delicately,
and comparative
and comparatively flimsily, built in others
ly flimsily, built in others (it
(it
has to have a voice).
has to have a voice). In my voicing class I show
In my voicing class I show
my students how and where to attend to these
my students how and where to attend to these
opposite mechanical and tonal needs o the
opposite mechanical and tonal needs o the
soundbox.
soundbox.
And my students aren’t the only ones who
And my students aren’t the only ones who
learn in my classes. One learns new things
learn in my classes. One learns new things by
by
teaching and working with inquiring minds.
teaching and working with inquiring minds.
So my class benefits rom that in that I keep
So my class benefits rom that in that I keep
on including new inormation and new
on including new inormation and new
perspectives.
perspectives.
It’s the same with guitars: one can be primarily
It’s the same with guitars: one can be primarily
interested in wrestling with the problems o
interested in wrestling with the problems o
how-many-guitars-can-I-crank-out-in-a-
how-many-guitars-can-I-crank-out-in-a-
month or year (and all the puzzles one has to
month or year (and all the puzzles one has to
solve in order to succeed);
solve in order to succeed); or with the problems
or with the problems
how-good-are-they? (and all the puzzles one
how-good-are-they? (and all the puzzles one
has to solve in order to get a handle on that);
has to solve in order to get a handle on that);
or the challenges o how unique
or the challenges o how unique do I want my
do I want my
guitars to look, as opposed
guitars to look, as opposed to making clones
to making clones
o someone else’s instruments; and so on. With
o someone else’s instruments; and so on. With
both cars and guitars, o course, all o
both cars and guitars, o course, all o these
these
concerns are subsets o the
concerns are subsets o the larger problem o
larger problem o
economic survival.
economic survival.
9.
10.
11. As players we tend to be obsessive with our
As players we tend to be obsessive with our
instruments, dings and cracks. By building
instruments, dings and cracks. By building
light and having that difficult balance
light and having that difficult balance
between light
between light construction and durability
construction and durability,
,
do you encounter more cracks
do you encounter more cracks or propensity
or propensity
or the instrument to more ragile? And are
or the instrument to more ragile? And are
cracks even that bad?
cracks even that bad?
Finding the optimal balance point between
Finding the optimal balance point between
tonal openness (ragility o construction) and
tonal openness (ragility o construction) and
durability is indeed tricky – but it do
durability is indeed tricky – but it does not
es not
occur in a
occur in a theoretical vacuum. It occurs within
theoretical vacuum. It occurs within
the context o how one designs, makes,
the context o how one designs, makes, and
and
handles one’s guitar in real lie.
handles one’s guitar in real lie.
What I mean is that while cracks and damage
What I mean is that while cracks and damage
are always real dangers with anything that is
are always real dangers with anything that is
delicately constructed, there is an expect
delicately constructed, there is an expectation
ation
on the parts o both t
on the parts o both the maker and the player
he maker and the player
that anything that is valuable and delicate wi
that anything that is valuable and delicate will
ll
be handled with care – no differently than how
be handled with care – no differently than how
one would treat t
one would treat their automobile, expensive
heir automobile, expensive
camera, valuable collectible, or fine china.
camera, valuable collectible, or fine china.
O course, not all players are obsessive in
O course, not all players are obsessive in
caring or their instruments. Te
caring or their instruments. Te most obvious
most obvious
example is Willie Nelson’s guitar, which has had
example is Willie Nelson’s guitar, which has had
a big chunk o
a big chunk o its ace literally worn away by
its ace literally worn away by
years o use. For Andres Segovia: cracks, bad.
years o use. For Andres Segovia: cracks, bad.
For Willie Nelson: cracks? What cracks?
For Willie Nelson: cracks? What cracks?
Tere are our principal actors that affect
Tere are our principal actors that affect
structural integrity o a
structural integrity o a guitar
guitar. First, is
. First, is how
how
delicately it was made to begin with. S
delicately it was made to begin with. Some
ome
guitars – especially commercially made ones
guitars – especially commercially made ones
– are as close to being indestructible as the
– are as close to being indestructible as the
manuacturers can get away with: they don’t
manuacturers can get away with: they don’t
want to be inundated with warrantee work, afer
want to be inundated with warrantee work, afer
all. Second, as I just
all. Second, as I just said, is how careully or
said, is how careully or
carelessly one handles one’s instrument.
carelessly one handles one’s instrument.
Most guitars are not misused but damage o
Most guitars are not misused but damage occurs
ccurs
when a guitar is bumped into something, or
when a guitar is bumped into something, or
when it alls over
when it alls over, or when it is subject
, or when it is subject so some
so some
unusual stress – as
unusual stress – as when the strings
when the strings are over
are over-
-
tightened, or the cat knocks it over, or someone
tightened, or the cat knocks it over, or someone
orgets the guitar is on the couch and then sits on
orgets the guitar is on the couch and then sits on
it. But, as a rule, i something is handled careully
it. But, as a rule, i something is handled careully
it will last a long time.
it will last a long time.
Tird is temperature and humidity; cracks
Tird is temperature and humidity; cracks
and de-laminations are likely i one’s guitar
and de-laminations are likely i one’s guitar
is exposed
is exposed to environmen
to environmental extremes and
tal extremes and
consequently heats up and/or dries out past
consequently heats up and/or dries out past
the abilities o the glue joints and wood
the abilities o the glue joints and wood fibers
fibers
to hold together. Here, too, prudent care o the
to hold together. Here, too, prudent care o the
instrument is high on the priorities list.
instrument is high on the priorities list.
Te final actor is not so
Te final actor is not so much one o outright
much one o outright
damage as it is o physical distortion o a
damage as it is o physical distortion o a
delicately built soundbox rom the effects
delicately built soundbox rom the effects o
o
torque and string pull.
torque and string pull.
12. Such distortions, settling-in o the woods,
Such distortions, settling-in o the woods,
imprinting o the bracing into the soundboard,
imprinting o the bracing into the soundboard,
etc., are normal and not usually significant in
etc., are normal and not usually significant in
anything other than an aesthetic
anything other than an aesthetic way
way. On the
. On the
other hand, i there are actual cracks in the
other hand, i there are actual cracks in the
wood, or i the neck has bent orward so much
wood, or i the neck has bent orward so much
rom the pull o the strings that playability
rom the pull o the strings that playability
is affected, then a visit
is affected, then a visit to the repairman is in
to the repairman is in
order.
order.
Small cracks, i
Small cracks, i they occur, are dangerous in
they occur, are dangerous in
that they might g
that they might grow into larger cracks; but
row into larger cracks; but
also, they represent a weakening o the guitar’s
also, they represent a weakening o the guitar’s
sound-producing membrane and one might
sound-producing membrane and one might
notice a change in the instrument’s sound
notice a change in the instrument’s sound
as a result o that. I mean, imagine
as a result o that. I mean, imagine playing a
playing a
drum and then having someone poke a hole
drum and then having someone poke a hole
into it; how can it
into it; how can it not respond differently i
not respond differently i
its principal vibrating diaphragm has been
its principal vibrating diaphragm has been
perorated?
perorated?
Most cracks ollow the grain o the wood and
Most cracks ollow the grain o the wood and
are easy to
are easy to fix. I there’
fix. I there’s cross-grain
s cross-grain racturing,
racturing,
however
however, t
, that constitutes more serious
hat constitutes more serious damage;
damage;
actual patching (insertion o new wood)
actual patching (insertion o new wood)
may be needed, especially i a hole has been
may be needed, especially i a hole has been
punched into the instrument.
punched into the instrument.
Tere are also little-discussed cultural and
Tere are also little-discussed cultural and
commercial actors o attitude that
commercial actors o attitude that are involved
are involved
in the care that we treat our possessions with.
in the care that we treat our possessions with.
European instrument making has come out o a
European instrument making has come out o a
centuries-long tradition o hand
centuries-long tradition o hand crafsmanship;
crafsmanship;
care o the things that are made is part o that.
care o the things that are made is part o that.
Te American tradition is based
Te American tradition is based in commercial
in commercial
manuacturing o products or a mass market.
manuacturing o products or a mass market.
Care o the things
Care o the things made is thereore not
made is thereore not
generally emphasized so much. And speaking
generally emphasized so much. And speaking
o balancing acts (as I
o balancing acts (as I spoke o above), the
spoke o above), the
prototypical manuacturer’s balancing act is
prototypical manuacturer’s balancing act is
carried out around considerations o making
carried out around considerations o making
things be
things be sturdy
sturdy, combined with an i
, combined with an industrial
ndustrial
imperative to planned
imperative to planned obsolescence. No, I’m
obsolescence. No, I’m
not making that up.
not making that up.
Consider the blanket plenitude o things that
Consider the blanket plenitude o things that
Americans KNOW will sooner or later become
Americans KNOW will sooner or later become
obsolete: the current generation o cars and
obsolete: the current generation o cars and
airplanes; military weapons systems; businesses
airplanes; military weapons systems; businesses
and markets o all kinds; trends and ashions;
and markets o all kinds; trends and ashions;
all electronic, mechanical, manuacturing,
all electronic, mechanical, manuacturing,
agricultural, and chemical technology; and,
agricultural, and chemical technology; and,
finally
finally, buildings, roads,
, buildings, roads, and bridges.
and bridges.
I mean, i
I mean, i anything goes wrong, we
anything goes wrong, we’ll buy
’ll buy a
a
replacemen
replacement o the
t o the ailed one or de
ailed one or develop a
velop a
better one. In Europe, on the other hand, there
better one. In Europe, on the other hand, there
are bridges, roads, and cathedrals
are bridges, roads, and cathedrals that are many
that are many
centuries old. Tereore, as ar as guitars go, the
centuries old. Tereore, as ar as guitars go, the
human mindset and culture play their part
human mindset and culture play their part just
just
as much as the
as much as the weather and our cats do.
weather and our cats do.
13. “
“cultures are reflected
cultures are reflected
in the approaches to the
in the approaches to the
work
work”
”
Do you think this difference in cultures
Do you think this difference in cultures
between Europe and the US is reflected in
between Europe and the US is reflected in
the building philosophies? I notice a lot
the building philosophies? I notice a lot
more Spanish heel construction even on steel
more Spanish heel construction even on steel
strings in Europe, or example....
strings in Europe, or example....
Yes, the cultures are reflected in the approaches
Yes, the cultures are reflected in the approaches
to the work -- although it’s not a matter o a
to the work -- although it’s not a matter o a
straight one-to-one correlation. Basical
straight one-to-one correlation. Basically
ly, b
, both
oth
European and American luthiers have to do
European and American luthiers have to do
the mating ritual (i I can ca
the mating ritual (i I can call it that) o artistic
ll it that) o artistic
sensibility vs. economic reality, which sets the
sensibility vs. economic reality, which sets the
ground rules or survival. But on the
ground rules or survival. But on the whole I do
whole I do
think there
think there are different philosophies in play.
are different philosophies in play.
Beore jumping into this topic, let’s start
Beore jumping into this topic, let’s start
by acknowledging that there is a
by acknowledging that there is a difference
difference
between culture and
between culture and tradition. radi
tradition. radition is
tion is
“this is how we’ve been doing it, and how we
“this is how we’ve been doing it, and how we
continue to do it”, but not much more than
continue to do it”, but not much more than
that. And tradition is
that. And tradition is changeable. Cult
changeable. Culture, on
ure, on
the other hand, is subtle, all-pervasive, and
the other hand, is subtle, all-pervasive, and
has great staying power. One might say that
has great staying power. One might say that
tradition is a specific application; culture is the
tradition is a specific application; culture is the
general rule; as such, it’s in the driver’s seat. As
general rule; as such, it’s in the driver’s seat. As
ar as a culture’s expressing itsel in lutherie (or
ar as a culture’s expressing itsel in lutherie (or
any other kind o work) goes, one path to an
any other kind o work) goes, one path to an
understanding o this is to look at t
understanding o this is to look at the history
he history
behind it --
behind it -- and Europe and the United States
and Europe and the United States
have markedly different histories.
have markedly different histories.
Basically
Basically, Europe has a
, Europe has a millennia-old history
millennia-old history
o rise and all
o rise and all o empires/
o empires/cultures -- political,
cultures -- political,
military, religious, philosophical (the Arabs had
military, religious, philosophical (the Arabs had
the first scientific one), and
the first scientific one), and mercan
mercantile ones
tile ones
-- with all
-- with all the wars, exploration, trade, royalty
the wars, exploration, trade, royalty,
,
religious and political actioning, dynasties,
religious and political actioning, dynasties,
languages, conquests, revolutions, advances,
languages, conquests, revolutions, advances,
deeats, intellectual and artistic
deeats, intellectual and artistic flowerings,
flowerings,
ethnocentrisms, and slow erosions that come
ethnocentrisms, and slow erosions that come
with all that.
with all that.
Te United Stat
Te United States, on the
es, on the other hand, has a
other hand, has a
history that is exactly 237
history that is exactly 237 years old at the time
years old at the time
14. o this writing.
o this writing. Having deeated German
Having deeated Germany and
y and
Japan militarily
Japan militarily, the
, the Soviet Union politically
Soviet Union politically
and economically
and economically, and
, and the world
the world electronically
electronically,
,
the United States can today lay claim to
the United States can today lay claim to being
being
the world’s leading military, financial and
the world’s leading military, financial and
technological empire/cultur
technological empire/culture -- at least
e -- at least or the
or the
time being.
time being. India and China are catching up,
India and China are catching up,
and the Soviet Union is making a comeback.
and the Soviet Union is making a comeback.
Tis isn’t a primer on American culture, but
Tis isn’t a primer on American culture, but
I just wanted to say that American social and
I just wanted to say that American social and
economic culture has been based in (
economic culture has been based in (or at the
or at the
least decisively influenced by) the
least decisively influenced by) the spiritual,
spiritual,
social, and economic imperatives o two o the
social, and economic imperatives o two o the
dominant intellectual/spiritual paradigms o
dominant intellectual/spiritual paradigms o
the modern age -- b
the modern age -- both o which came over
oth o which came over
rom Europe.
rom Europe.
Te first o these is the Industrial Re
Te first o these is the Industrial Revolution.
volution.
Te United States has been more about mass-
Te United States has been more about mass-
producing consumer goods or a mass
producing consumer goods or a mass market
market
than Europe ever was or most o
than Europe ever was or most o its history.
its history.
Te second is the Protestant Work Ethic;
Te second is the Protestant Work Ethic;
this came over in drips and drabs, but got a
this came over in drips and drabs, but got a
HUGE impetus with what has been called
HUGE impetus with what has been called
the Protestant and/or Celtic Migration -- the
the Protestant and/or Celtic Migration -- the
arrival into this country o hordes o [Scottish,
arrival into this country o hordes o [Scottish,
Irish, Welsh, and other Northern European]
Irish, Welsh, and other Northern European]
people who brought with them an energy
people who brought with them an energy
and a genius particularly adapted to technical
and a genius particularly adapted to technical
inventiveness.
inventiveness.
A great many o the ounding
A great many o the ounding athers o
athers o
American capitalism and productive enterprise
American capitalism and productive enterprise
belonged to this pool. Fed by the
belonged to this pool. Fed by the raw and
raw and
almost limitless commercial possibilities
almost limitless commercial possibilities
offered by this new land, these people very
offered by this new land, these people very
largely produced American culture -- which
largely produced American culture -- which
is deficient, i in anything, in long-standing
is deficient, i in anything, in long-standing
traditions o its own i
traditions o its own in art and crafsmanship.
n art and crafsmanship.
And regardless o how long-standing or not
And regardless o how long-standing or not
American aesthetic culture is, it is deficient in
American aesthetic culture is, it is deficient in
-- or reed
-- or reed rom the constraints o, i you
rom the constraints o, i you preer
preer
-- a sense o
-- a sense o classical proportion as derived
classical proportion as derived
rom the contours o natural objects and t
rom the contours o natural objects and the
he
organicity o the human body; this is not called
organicity o the human body; this is not called
“the new land” or nothing. And I’ll come
“the new land” or nothing. And I’ll come
back to this point a bit u
back to this point a bit urther on, as it has
rther on, as it has
something to do with guitar making.
something to do with guitar making.
Okay, we’re coming to the end o this lecture
Okay, we’re coming to the end o this lecture
now
now. But the
. But the act is
act is that these histories present
that these histories present
a younger generation with different models to
a younger generation with different models to
ollow. In this regard, in lutherie, Europe offers
ollow. In this regard, in lutherie, Europe offers
makers such as
makers such as Maler
Maler, Du
, Duiffenprucha
iffenpruchar
r, Flet
, Fleta,
a,
Hauser
Hauser, R
, Ramirez, Simplicio, Bernabe,
amirez, Simplicio, Bernabe, Santos
Santos
Hernandez, Monch
Hernandez, Monch, Friedrich,
, Friedrich, Romanillos,
Romanillos,
Contreras, Conde, Esteso, Van der Waals,
Contreras, Conde, Esteso, Van der Waals,
Wagner, Dammann, and a host o other
Wagner, Dammann, and a host o other
talented individuals.
talented individuals.
I mean, these are the names that people know.
I mean, these are the names that people know.
In the United States, on the other hand, the
In the United States, on the other hand, the
models have traditionally been
models have traditionally been manuacturer
manuacturers:
s:
Martin, Gibson, Rickenbacker, Fender,
Martin, Gibson, Rickenbacker, Fender,
Mossman, aylor, Collings, Epiphone, Stella,
Mossman, aylor, Collings, Epiphone, Stella,
“
“histories present a
histories present a
younger generation with
younger generation with
differen
different models
t models to ollow
to ollow”
”
15. Harmony, Guild, etc. Te only individuals
Harmony, Guild, etc. Te only individuals
anyone can name in pre-1970 American
anyone can name in pre-1970 American
lutherie (as opposed to manuacturing, that is)
lutherie (as opposed to manuacturing, that is)
are the Larson brothers and John D’Angelico.
are the Larson brothers and John D’Angelico.
Finally
Finally, I should
, I should point out that the classical
point out that the classical
guitar is a
guitar is a European inven
European invention and the steel
tion and the steel
string guitar is an American invention. A lot
string guitar is an American invention. A lot
ollows rom this, as each o these versions o
ollows rom this, as each o these versions o
the guitar carries a different cultural load --
the guitar carries a different cultural load -- and
and
this is
this is precisely our topic.
precisely our topic.
One interesting example o the
One interesting example o the resultant
resultant
differences in building philosophies – even
differences in building philosophies – even
beore anyone picks up a tool or a
beore anyone picks up a tool or a piece o
piece o
wood -- is
wood -- is how guitars are named and even
how guitars are named and even
expected to be named. Every
expected to be named. Every luthier-m
luthier-made
ade
Spanish (i.e., nylon or gut strung) guitar
Spanish (i.e., nylon or gut strung) guitar
carries the name o its maker on its label;
carries the name o its maker on its label; such
such
instruments are assumed to come out o
instruments are assumed to come out o a
a
crafsman’s tradition which someone wants to
crafsman’s tradition which someone wants to
take individual credit or -- and to do other
take individual credit or -- and to do otherwise
wise
is unthinkable.
is unthinkable.
But many individual American steel string
But many individual American steel string
guitar makers, in labeling their guitars, se
guitar makers, in labeling their guitars, seem
em
to aspire to the cachet o being associated with
to aspire to the cachet o being associated with
a manuacturing tradition. Or, at least, they
a manuacturing tradition. Or, at least, they
seem to preer to identiy their work with a
seem to preer to identiy their work with a
brand name rather than to identiy
brand name rather than to identiy own names
own names
with their products. At the time o this writing
with their products. At the time o this writing
Froggy Bottom, rue North, Running Dog,
Froggy Bottom, rue North, Running Dog,
Nashville Guitar Co., Shanti, Moonstone, Bear
Nashville Guitar Co., Shanti, Moonstone, Bear
Creek, Bear
Creek, Bear Mountain, Evergr
Mountain, Evergreen Mountain,
een Mountain,
imeless, Golden W
imeless, Golden Wood, etc.
ood, etc. guitars are all
guitars are all
made by individual luthiers but you’d never
made by individual luthiers but you’d never
know it. And no one thinks anything o this
know it. And no one thinks anything o this
because it’
because it’s so
s so culturally ingrained.
culturally ingrained.
Also, these names themselves carry a particular
Also, these names themselves carry a particular
spin o culture. It cannot be an accident t
spin o culture. It cannot be an accident that
hat
so many o them
so many o them have the whiff o nature,
have the whiff o nature,
the
the land-in-process-o-being-conq
land-in-process-o-being-conquered-
uered-
and-tamed, the Midwest and the Rockies,
and-tamed, the Midwest and the Rockies,
the mountain men and the wilderness, the
the mountain men and the wilderness, the
great outdoors, etc. Can you imagine a guitar
great outdoors, etc. Can you imagine a guitar
brand with any urban-sounding name such as
brand with any urban-sounding name such as
Fifh Avenue, Boston Harbor, Subway, West
Fifh Avenue, Boston Harbor, Subway, West
Side, Main Street, Codfish,
Side, Main Street, Codfish, Te Stockyards,
Te Stockyards,
Wall Street, Gold Rush, Founding Fathers,
Wall Street, Gold Rush, Founding Fathers,
Te Cotton Mill, Vaquero’s Choice, Urban
Te Cotton Mill, Vaquero’s Choice, Urban
Landscape, Cape Canaveral, Fort Knox,
Landscape, Cape Canaveral, Fort Knox,
Assembly Line, Sioux Nation, or Walla Walla
Assembly Line, Sioux Nation, or Walla Walla
Washington Guitar Co.? Interestingly, and
Washington Guitar Co.? Interestingly, and
undoubted
undoubtedly b
ly because
ecause o John
o John D’
D’Angelico’
Angelico’s
s
influence, and because he was making guitars
influence, and because he was making guitars
whose design was inormed by the
whose design was inormed by the European
European
culture o violin-making, using
culture o violin-making, using anything other
anything other
than their own names seems unthinkable to
than their own names seems unthinkable to
arch
archtop luthiers. Even the
top luthiers. Even the pioneering Larson
pioneering Larson
brothers made guitars under
brothers made guitars under many commercial
many commercial
names.
names.
I mentioned a deficiency in long-standing
I mentioned a deficiency in long-standing
artistic traditions, above, and
artistic traditions, above, and you mentioned
you mentioned
differences in guitar heel desig
differences in guitar heel design. W
n. Well, the
ell, the
Spanish guitar heel (by
Spanish guitar heel (by the way
the way, the
, the nylon-
nylon-
string guitar is ormally called
string guitar is ormally called the Spanish
the Spanish
guitar regardless o where it’s made) is a
guitar regardless o where it’s made) is a
good example o the artistic traditions you
good example o the artistic traditions you
asked about: it is
asked about: it is lovely in lines, proportions
lovely in lines, proportions
and crispness o execution;
and crispness o execution; it looks
it looks pretty
pretty.
.
Te industrial version o that tradition (i.e,
Te industrial version o that tradition (i.e,
16. the American way o doing this) is to
the American way o doing this) is to stick
stick
something hurriedly shaped onto an equally
something hurriedly shaped onto an equally
hastily crafed guitar. Remember: the cu
hastily crafed guitar. Remember: the cultural
ltural
mindset that inorms this work is that o mass
mindset that inorms this work is that o mass
production; and I’m not criticizing this:
production; and I’m not criticizing this: I’
I’m
m
describing it neutrally. Te heel
describing it neutrally. Te heel will thereore
will thereore
be more pragmatically shaped than lovely;
be more pragmatically shaped than lovely;
the crispness will be gone, and the cur
the crispness will be gone, and the curves and
ves and
contours will be what the tooling can most
contours will be what the tooling can most
efficiently produce. Period.
efficiently produce. Period.
In contrast, as I said, the inner cur
In contrast, as I said, the inner curve o a nicely
ve o a nicely
made classical
made classical guitar’
guitar’s heel
s heel (where it blends
(where it blends
into the back o the neck) is lovely . . . and it’s
into the back o the neck) is lovely . . . and it’s
organic, like the curve o a woman’s breast. Te
organic, like the curve o a woman’s breast. Te
guitar is enhanced by it. Tese cur
guitar is enhanced by it. Tese curves are all
ves are all
a little bit different, rom maker to maker. In
a little bit different, rom maker to maker. In
part, this is because that curve is made by hand,
part, this is because that curve is made by hand,
but also because it is
but also because it is a subtle but proprietary
a subtle but proprietary
part o the crafsman’s style.
part o the crafsman’s style.
On the other hand, I dey you
On the other hand, I dey you to find a modern
to find a modern
steel string guitar neck in which its transition
steel string guitar neck in which its transition
into the heel is
into the heel is NO a our-inch-diameter
NO a our-inch-diameter
curve that lo
curve that looks compass-drawn. Tey’
oks compass-drawn. Tey’re all the
re all the
same, even on the expensive guitars. Tat curve
same, even on the expensive guitars. Tat curve
is the size o the ront roller o any o today’s
is the size o the ront roller o any o today’s
belt sanders – which tool is usually used to
belt sanders – which tool is usually used to
produce that contour.
produce that contour.
Te same actors o efficiency
Te same actors o efficiency vs. whatever-
vs. whatever-
else-it-is-that-those-European
else-it-is-that-those-Europeans-do underlie
s-do underlie the
the
design o the bridge, the rosette, the peg
design o the bridge, the rosette, the peghead,
head,
and the choice o material or the binding.
and the choice o material or the binding.
Tese are all very visible
Tese are all very visible parts o the guitar. But
parts o the guitar. But
there are a great many less visible di
there are a great many less visible differences
fferences
as well. Altogether
as well. Altogether, these
, these things touch on two
things touch on two
o the basic philosophical/cultural differences
o the basic philosophical/cultural differences
between these lutherie traditions: the reliance
between these lutherie traditions: the reliance
on the use o hand tools vs.
on the use o hand tools vs. power tools, and
power tools, and
artistry.
artistry.
And these themselves rely on a third and
And these themselves rely on a third and
massively underappr
massively underappreciated quantity:
eciated quantity: the
the
general level o hand skills in the
general level o hand skills in the community
community
-- another thing that American culture is
-- another thing that American culture is
deficient in. I bring this up because I used the
deficient in. I bring this up because I used the
word “
word “efficiency” a ew
efficiency” a ew sentences ago; it is
sentences ago; it is true
true
that actories can produce hundreds o guitars
that actories can produce hundreds o guitars
a month and
a month and that individual luthiers
that individual luthiers can
can’t do
’t do
that. But I know Mexican luthiers who can
that. But I know Mexican luthiers who can
produce two complete, nicer-looking-than-
produce two complete, nicer-looking-than-
actory-guitars, and good-sounding hand made
actory-guitars, and good-sounding hand made
guitars per week (except or the
guitars per week (except or the finishing,
finishing,
which is done by a third party),
which is done by a third party), and no
and no
American luthier I know o can
American luthier I know o can compete with
compete with
that. We lack the skill level. Period.
that. We lack the skill level. Period.
Tere’s much more to say about all this but I
Tere’s much more to say about all this but I
think there’s a limit to how long my answer to
think there’s a limit to how long my answer to
your question can get. I will s
your question can get. I will say that the culture
ay that the culture
o guitar making today is, in addition to all
o guitar making today is, in addition to all
the above, an outgrowth o the
the above, an outgrowth o the cultures o the
cultures o the
musical networks that play the various kinds
musical networks that play the various kinds
o guitars that we make. Tat too is bit too
o guitars that we make. Tat too is bit too
complica
complicated to go
ted to go into right here, but I reer
into right here, but I reer
interested readers to my website and
interested readers to my website and invite
invite
them to read my essay on Te Challenges to
them to read my essay on Te Challenges to
the Luthier in Mastering Both Steel String and
the Luthier in Mastering Both Steel String and
Classical Guitar Making. I
Classical Guitar Making. I think it’
think it’s worth a
s worth a ew
ew
minutes o one’s time to look up and read.
minutes o one’s time to look up and read.
17. “
“It seems that Japanese
It seems that Japanese
culture does not allow
culture does not allow
people to sur
people to survive by doi
vive by doing
ng
work with their hands.
work with their hands.”
”
And somehow to my eyes anyway, the Japan
And somehow to my eyes anyway, the Japan
lie somewhere in between, extreme efficiency
lie somewhere in between, extreme efficiency
with enormous respect or hand skills?
with enormous respect or hand skills?
Aferall, I have noticed you have a number o
Aferall, I have noticed you have a number o
Japanese
Japanese appren
apprentices...
tices...
You’ve identified a popular stereotype. Te
You’ve identified a popular stereotype. Te
truth is not quite so
truth is not quite so simple. Te Ja
simple. Te Japanese
panese
appr
approach their
oach their various strengths, lie
various strengths, lie
challenges, and limitations differently than the
challenges, and limitations differently than the
rest o us do and I will
rest o us do and I will say
say, in admiration o
, in admiration o
them, that they have a work ethic and a loyalty-
them, that they have a work ethic and a loyalty-
to-the-team ethic
to-the-team ethic that puts Americans’ versions
that puts Americans’ versions
o these to
o these to shame. As I said e
shame. As I said earlier
arlier, such
, such
versions o lie-stra
versions o lie-strategies come out o a national
tegies come out o a national
history
history, and also
, and also out o a broader cu
out o a broader culture, and
lture, and
in no small part the parenting styles that are
in no small part the parenting styles that are
part o these respective cultures.
part o these respective cultures.
I want to make our p
I want to make our points beore going on to
oints beore going on to
talking ab
talking about how my Japanese appren
out how my Japanese apprentices
tices
embody certain Japanese cultural attitudes.
embody certain Japanese cultural attitudes.
First, the Japanese are ully as productive in a
First, the Japanese are ully as productive in a
non-hand-skill way as any other industrialized
non-hand-skill way as any other industrialized
country:
country: witness their automotive and
witness their automotive and
electronics industries.
electronics industries.
Second, Japan is a small,
Second, Japan is a small, crowded, and
crowded, and
geographically isolated country with ew
geographically isolated country with ew
natural resources: thereor
natural resources: thereore the stru
e the struggle or
ggle or
survival – i.e.,
survival – i.e., how hard one has to work in
how hard one has to work in
order to survive – is intense. Te culture is
order to survive – is intense. Te culture is
ocused on working hard – to the point that it
ocused on working hard – to the point that it
is accepted that people die o it. Tey even have
is accepted that people die o it. Tey even have
a name or that: karoshi: it
a name or that: karoshi: it means death rom
means death rom
overwork.
overwork.
Tird, Japan has changed so much in the
Tird, Japan has changed so much in the last
last
century that a lot o the respect or tradition,
century that a lot o the respect or tradition,
hand tools, etc. is
hand tools, etc. is pretty much outda
pretty much outdated and
ted and
roman
romanticized lip s
ticized lip service. It is a
ervice. It is a metaphor o
metaphor o
this that the crane, that traditional icon whose
this that the crane, that traditional icon whose
18. image is so
image is so common and evocative o Japanese-
common and evocative o Japanese-
ness, is virtually extinct
ness, is virtually extinct in Japan. Tere does
in Japan. Tere does
exist a culture o
exist a culture o reverenc
reverence or traditional
e or traditional
masters o Japanese artistic craf, who
masters o Japanese artistic craf, who are
are
considered to be national treasures. But this
considered to be national treasures. But this
culture o reverence is disappearing. Te
culture o reverence is disappearing. Te
national treasures are all very old and young
national treasures are all very old and young
people are not replacing them; the young
people are not replacing them; the young are
are
seduced by everything t
seduced by everything that is modern and have
hat is modern and have
very little interest in doing an
very little interest in doing anything the old
ything the old
way.
way.
Fourth (and related to the third): there is
Fourth (and related to the third): there is
in Japanese culture, on an everyday level, a
in Japanese culture, on an everyday level, a
deficiency o using
deficiency o using hand tools. In the United
hand tools. In the United
States one can walk into any hardware store
States one can walk into any hardware store
and buy a cordless drill, files, s
and buy a cordless drill, files, saws, and other
aws, and other
hand tools with which to do home projects or
hand tools with which to do home projects or
repairs, automotive repairs, gardening, or even
repairs, automotive repairs, gardening, or even
more ambitious projects; most adult Americans
more ambitious projects; most adult Americans
have basic tools in their garage or basement.
have basic tools in their garage or basement.
But when I was in Japan I noticed an absence
But when I was in Japan I noticed an absence
o such easily available hand tools; they could o
o such easily available hand tools; they could o
course be obtained in specia
course be obtained in specialty stores, and they
lty stores, and they
were on the expensive side; but you couldn’t
were on the expensive side; but you couldn’t
just pick them up an
just pick them up anywhere like you can here
ywhere like you can here.
.
Likewise, in looki
Likewise, in looking around to buy presents to
ng around to buy presents to
give to my riends when I returned, I noticed
give to my riends when I returned, I noticed
an absence o inexpensive handmade things to
an absence o inexpensive handmade things to
buy – such as one can find in any crafs store in
buy – such as one can find in any crafs store in
many American cities.
many American cities.
Tere were plenty o electronic things
Tere were plenty o electronic things to buy,
to buy,
o course, and things made o plastic .
o course, and things made o plastic . . . but
. . but
very little made o wood or bamboo, handmade
very little made o wood or bamboo, handmade
jewelry, or
jewelry, or things like tie-dyed or batik tee-
things like tie-dyed or batik tee-
shirts, or any o the gif items made by own
shirts, or any o the gif items made by own
cottage-industry culture that tourists buy when
cottage-industry culture that tourists buy when
in the U.S. to take back to their countries.
in the U.S. to take back to their countries.
It seems that Japanese culture does not allow
It seems that Japanese culture does not allow
people to survive by doing work with their
people to survive by doing work with their
hands. A ew artists
hands. A ew artists and crafsmen undoubtedly
and crafsmen undoubtedly
do, but they will be highly trained o this or
do, but they will be highly trained o this or
that art orm; they are not mere crafsmen in
that art orm; they are not mere crafsmen in
the Western sense o the word.
the Western sense o the word.
Te exceptions to this are the
Te exceptions to this are the crafs-
crafs-
communities o Kamakura, oyama, and
communities o Kamakura, oyama, and
others. Like the town o
others. Like the town o Paracho in Mexico
Paracho in Mexico,
,
in which the main industry is guitar making,
in which the main industry is guitar making,
19. GUIARBENCH MAGAZINE ISSUE 7 PAGE 43
GUIARBENCH MAGAZINE ISSUE 7 PAGE 43
these are centers where the main industry is
these are centers where the main industry is
artistic woodworking (or other kind
artistic woodworking (or other kind o working):
o working):
the things they produce are beautiul, skillully
the things they produce are beautiul, skillully
executed, and expensive. And these are cert
executed, and expensive. And these are certainly
ainly
not within most people’s easy reach. Te point
not within most people’s easy reach. Te point
I’
I’m making is that use
m making is that use o hand tools – in this
o hand tools – in this
case home-workshop woodworking tools, and
case home-workshop woodworking tools, and
also automotive repair tools, home improvement
also automotive repair tools, home improvement
tools, gardening tools, etc. – are not much part o
tools, gardening tools, etc. – are not much part o
the Japanese domestic landscape.
the Japanese domestic landscape.
o work with them is specialized activity. I
o work with them is specialized activity. I
should add that the
should add that the average Ja
average Japanese home or
panese home or
apartment is small. Tere are ew garages and
apartment is small. Tere are ew garages and
basements, and there’s little space or tools, work
basements, and there’s little space or tools, work
space, storage, and such. Tis is not a do-it-
space, storage, and such. Tis is not a do-it-
yoursel culture in the way t
yoursel culture in the way that American culture
hat American culture
has traditionally been; at least, I think this rom
has traditionally been; at least, I think this rom
what I’ve seen. Finally, with such unamili
what I’ve seen. Finally, with such unamiliarity
arity
with common hand tools being the case, rom
with common hand tools being the case, rom
where would the average Japanese learn personal
where would the average Japanese learn personal
respect or hand tools and hand
respect or hand tools and hand work?
work?
Tere is obviously some
Tere is obviously some appr
appreciation or
eciation or
institutional and cultural hand work – as seen in
institutional and cultural hand work – as seen in
their temples, art, calligraphy
their temples, art, calligraphy, and such –
, and such – but this
but this
is not the same as knowing and doing hand work
is not the same as knowing and doing hand work
personally.
personally.
Finally
Finally, I should add
, I should add that the culture o amiliarity
that the culture o amiliarity
with hand tools and hand skills seems to
with hand tools and hand skills seems to be
be
likewise disappearing rom the American scene.
likewise disappearing rom the American scene.
When I was young and had a flat tire I jacked the
When I was young and had a flat tire I jacked the
car up and changed the tire.
car up and changed the tire.
Most Americans now have never changed a
Most Americans now have never changed a tire.
tire.
Young Americans are perhaps computer savvy
Young Americans are perhaps computer savvy
but I have a strong impression that they have no
but I have a strong impression that they have no
idea o how their cars, washing machines, aucets,
idea o how their cars, washing machines, aucets,
door hinges, most other mechanical/electrical/
door hinges, most other mechanical/electrical/
hydro
hydrological t
logical things, urniture, or
hings, urniture, or appliances
appliances
work.
work.
I’ve had three Japanese apprentices and am
I’ve had three Japanese apprentices and am
presently training my ourth one. All went to
presently training my ourth one. All went to
Univ
University – which by its
ersity – which by itsel sets them
el sets them apart
apart
rom the average person.
rom the average person. And, interestingly
And, interestingly
enough, despite the act that they have turned
enough, despite the act that they have turned
to making guitars, three o them have degrees
to making guitars, three o them have degrees
in engineering o
in engineering o one kind or another, and the
one kind or another, and the
ourth has a degree in physics (and then went
ourth has a degree in physics (and then went
into engineering work afer graduation).
into engineering work afer graduation).
Tis suggests to me that their initial attraction
Tis suggests to me that their initial attraction
to the work is the engineering and technical
to the work is the engineering and technical
aspects o it, but combined with a certain
aspects o it, but combined with a certain
element o plasticity or lack o
element o plasticity or lack o rigidity
rigidity.
.
Otherwise,
Otherwise, what Japanese appr
what Japanese apprentices do
entices do
bring with them that non-Japanese lack, is
bring with them that non-Japanese lack, is
a reverence or their teachers. Westerners
a reverence or their teachers. Westerners
are unwilling to subordinate themselves so
are unwilling to subordinate themselves so
complete
completely to the
ly to the will o authority figures. And
will o authority figures. And
these different attitudes are rooted in deeply
these different attitudes are rooted in deeply
ingrained cultural values.
ingrained cultural values.
“
“Japanese apprentices do
Japanese apprentices do
bring with them that non-
bring with them that non-
Japanese lack, is a reverence
Japanese lack, is a reverence
or their teachers.
or their teachers.”
”
21. GUIARBENCH MAGAZINE ISSUE 7 PAGE 45
GUIARBENCH MAGAZINE ISSUE 7 PAGE 45
Let’
Let’s switch a bit and get
s switch a bit and get your take on the
your take on the
various tonewoods..... Brazilian is still very
various tonewoods..... Brazilian is still very
popular or you I gather?
popular or you I gather?
Well, in case a one-word answer isn’t sufficient,
Well, in case a one-word answer isn’t sufficient,
let me say a ew other things.
let me say a ew other things.
First, I really do love Brazilian rosewood,
First, I really do love Brazilian rosewood,
particularly the traditional (and most s
particularly the traditional (and most sought-
ought-
afer) Dalbergia
afer) Dalbergia Nigra variety. I’
Nigra variety. I’ve always loved
ve always loved
it. It’
it. It’s beautiul
s beautiul to look at:
to look at: it has exquisite sunset
it has exquisite sunset
colors and visual depth.
colors and visual depth. It sounds better than
It sounds better than
most other woods.
most other woods. And it isn’
And it isn’t called
t called rosewood
rosewood
or nothing: it really smells like a rosy peru
or nothing: it really smells like a rosy perume.
me.
Second, one o the things no one thin
Second, one o the things no one thinks o
ks o
in guitar making is t
in guitar making is that when one is first
hat when one is first
establishing one’s sel, whatever it is that they
establishing one’s sel, whatever it is that they
do at first that “catches on” is exactly what
do at first that “catches on” is exactly what
they’ll be known or -- and that’s what people
they’ll be known or -- and that’s what people
will want rom them. In my case, since it’s my
will want rom them. In my case, since it’s my
Brazilian rosewood guitars that people know
Brazilian rosewood guitars that people know
about, that’s the wood people want rom me.
about, that’s the wood people want rom me.
What I’
What I’m saying
m saying is that regardless o
is that regardless o Brazilian
Brazilian
rosewood’s good qualities, i the guitars that I’d
rosewood’s good qualities, i the guitars that I’d
made that originally ound acceptance in the
made that originally ound acceptance in the
market had been constructed with East Indian
market had been constructed with East Indian
rosewood (or
rosewood (or something else),
something else), that’
that’s what
s what
people would expect me now. It’s illogical, but
people would expect me now. It’s illogical, but
that’s how it is.
that’s how it is.
Tird, as ar as use o rosewoods in guitars
Tird, as ar as use o rosewoods in guitars
goes, Dalbergia Nigra has been the traditional
goes, Dalbergia Nigra has been the traditional
“Hol
“Holy Grail” rosewood
y Grail” rosewood o flat-top guitar
o flat-top guitar
making woods. And or good reason. Besides
making woods. And or good reason. Besides
tradition, this Brazilian rosewood is prized or
tradition, this Brazilian rosewood is prized or
its pleasing aroma, good
its pleasing aroma, good working properties,
working properties,
sheer colorul b
sheer colorul beauty
eauty, very
, very high “Q” (i.e.,
high “Q” (i.e.,
liveness o tone) . . . and also
liveness o tone) . . . and also its cost and, these
its cost and, these
days, rarity
days, rarity. Tis last has to
. Tis last has to do with the act
do with the act that
that
while it was once plentiul, it has been
while it was once plentiul, it has been logged
logged
out.
out.
Tere may be a ew trees o this spe
Tere may be a ew trees o this species lef,
cies lef,
but no one (other than poachers, which is
but no one (other than poachers, which is
another story) is cutting them down. Due to
another story) is cutting them down. Due to
its endangered status, Dalbergia Nigra was
its endangered status, Dalbergia Nigra was
CIES-listed on Nov. 6 1992 in Appendix I
CIES-listed on Nov. 6 1992 in Appendix I
(i.e., the most protected), and illegal to trade in.
(i.e., the most protected), and illegal to trade in.
What is lef o this wood is
What is lef o this wood is presently hoar
presently hoarded
ded
in warehouses, and resides in old buildings
in warehouses, and resides in old buildings
that are being demolished, and their building
that are being demolished, and their building
materials recycled. More on this a bit
materials recycled. More on this a bit urther
urther
below.
below.
22. GUIARBENCH MAGAZINE ISSUE 7 PAGE 46
GUIARBENCH MAGAZINE ISSUE 7 PAGE 46
But first, to give one an idea o how plentiul
But first, to give one an idea o how plentiul
this beautiul and ragrant wood used to be,
this beautiul and ragrant wood used to be,
consider that it used to grow in a territory
consider that it used to grow in a territory
measured in thousands o square miles.
measured in thousands o square miles.
Consider also that when American warships
Consider also that when American warships
were decommissioned afer World War II
were decommissioned afer World War II
and put into mothballs, they
and put into mothballs, they were o course
were o course
stripped o anything useul.
stripped o anything useul.
Shipboard mess-hall table tops weren’t
Shipboard mess-hall table tops weren’t
considered useul, and three-inch thick slabs
considered useul, and three-inch thick slabs
o Brazilian rosewood that had been table and
o Brazilian rosewood that had been table and
counter tops were stacked up in huge piles in
counter tops were stacked up in huge piles in
various East Coast naval docks -- where the
various East Coast naval docks -- where the
wood sat in the rain, baked in the sun, and
wood sat in the rain, baked in the sun, and
rotted. Pioneering American guitar maker
rotted. Pioneering American guitar maker
ony Murray, who used to have a shop in San
ony Murray, who used to have a shop in San
Francisco, told me that a lot o the East Coast
Francisco, told me that a lot o the East Coast
luthiers (and suppliers) raided those piles
luthiers (and suppliers) raided those piles o
o
wood or their lutherie needs. No one else
wood or their lutherie needs. No one else
wanted them; they were military surplus right
wanted them; they were military surplus right
alongside unneeded mosquito netting, rain
alongside unneeded mosquito netting, rain
tarps, canteens, and helmets.
tarps, canteens, and helmets.
Fourth: as ar as the cur
Fourth: as ar as the current rosewood situation
rent rosewood situation
goes, you should
goes, you should know that several different
know that several different
“Brazilian rosewoods” exist -- that is, trees o
“Brazilian rosewoods” exist -- that is, trees o
the genus Dalbergia
the genus Dalbergia that grow in that country.
that grow in that country.
Brazil is itsel almost as
Brazil is itsel almost as large as the United
large as the United
States’ land mass (the areas o United States
States’ land mass (the areas o United States
and Brazil are 3.8 million square miles
and Brazil are 3.8 million square miles and 3.3
and 3.3
million square mi
million square miles respectively
les respectively, so
, so I’
I’m not
m not
exaggerating much), and it’s understandable
exaggerating much), and it’s understandable
that various species o its rosewoods would
that various species o its rosewoods would
have grown and thrived in its di
have grown and thrived in its different regions
fferent regions
in consonance with their various climates,
in consonance with their various climates,
clay/loam composition o the soil, its minerals
clay/loam composition o the soil, its minerals
conten
content and pH, rainal
t and pH, rainall, etc.
l, etc.
Dalbergia Nigra trees used to grow in the
Dalbergia Nigra trees used to grow in the
region o the Atlantic-side orests o Bahia
region o the Atlantic-side orests o Bahia
and Minas Gerais -- at the southern tip o
and Minas Gerais -- at the southern tip o
which Rio de Janeiro is located. But as I
which Rio de Janeiro is located. But as I
said, Dalbergia Nigra has
said, Dalbergia Nigra has been pretty much
been pretty much
harvested to extinction and most o its habitat
harvested to extinction and most o its habitat
has been converted to armland.
has been converted to armland.
In recent years other Brazilian rosewoods
In recent years other Brazilian rosewoods
besides the Nigra species
besides the Nigra species have been marketed
have been marketed
as “Brazilian rosewood” -- which o course they
as “Brazilian rosewood” -- which o course they
are. Rosewood stumps o a different species,
are. Rosewood stumps o a different species,
rom thousands o square miles o the decades-
rom thousands o square miles o the decades-
ago-cut-down rosewood fields (rom the yet
ago-cut-down rosewood fields (rom the yet
more southern Brazilian state o Sao
more southern Brazilian state o Sao Paulo),
Paulo),
have been being harvested and imported into
have been being harvested and imported into
this country.
this country.
23. GUIARBENCH MAGAZINE ISSUE 7 PAGE 47
GUIARBENCH MAGAZINE ISSUE 7 PAGE 47
Tis wood, which is as I said a genuine
Tis wood, which is as I said a genuine
Brazilian rosewood, is variously reerred to as
Brazilian rosewood, is variously reerred to as
stumpw
stumpwood or Santos rosewood
ood or Santos rosewood*. It is in many
*. It is in many
cases ully as live as the best Dalbergia Nigra,
cases ully as live as the best Dalbergia Nigra,
but not as colorul. Whereas Dalbergia Nigra
but not as colorul. Whereas Dalbergia Nigra
has vivid sunset colors o black, green, orange,
has vivid sunset colors o black, green, orange,
brown, purple, and red-orange tints, the
brown, purple, and red-orange tints, the stump
stump
rosewood is
rosewood is more uniormly reddish-orang
more uniormly reddish-orange-
e-
brown.
brown.
Also, because the stumps will have been the
Also, because the stumps will have been the
lowest part o the t
lowest part o the tree, and under compression
ree, and under compression
rom the weight o the
rom the weight o the tree above it, much o
tree above it, much o
this wood
this wood is wavy, curvy
is wavy, curvy, and crazy-grained
, and crazy-grained
-- and
-- and thereor
thereore comparatively dimensionally
e comparatively dimensionally
unstable.
unstable.
Te straighter-grained tree trunks that grew
Te straighter-grained tree trunks that grew
above the stumps were cut down decades
above the stumps were cut down decades ago.
ago.
As a
As a matter o aesthetic preerence, American
matter o aesthetic preerence, American
customers are drawn to the wild and crazy
customers are drawn to the wild and crazy
grain in woo
grain in wood; Japanese customers are drawn
d; Japanese customers are drawn
to the spare, straight-grained look -- such
to the spare, straight-grained look -- such
as they
as they have learned to appreciate in their
have learned to appreciate in their
legendary rock gardens.
legendary rock gardens.
*Interestingly, no one I’ve spoken with knows
*Interestingly, no one I’ve spoken with knows
what species the stumpwood is. Allied Lutherie,
what species the stumpwood is. Allied Lutherie,
a prominent supp
a prominent supplier which used
lier which used to sell it,
to sell it, got
got
in touch with the
in touch with the Madison Forest Products
Madison Forest Products
Lab in order to find out exactly what they
Lab in order to find out exactly what they were
were
selling; the lab’s reply was that they could tell
selling; the lab’s reply was that they could tell
that it was a Dalbergia,
that it was a Dalbergia, but not more than
but not more than
that. In order to find a tree’s taxonomic niche,
that. In order to find a tree’s taxonomic niche,
they said, they
they said, they needed to see t
needed to see the trees’ nu
he trees’ nuts,
ts,
leaves, bark, etc.; o course, none o these
leaves, bark, etc.; o course, none o these
were available because the trees had been
were available because the trees had been
cut down decades ago. o urther obscure
cut down decades ago. o urther obscure
the issue, the lab reported that stemwood in
the issue, the lab reported that stemwood in
general has different morphological qualities
general has different morphological qualities
than stumpw
than stumpwood; since the
ood; since the stemwood in this
stemwood in this
instance disappeared when the trees were cut
instance disappeared when the trees were cut
down, proper identification became even less
down, proper identification became even less
likely.
likely.
24. GUIARBENCH MAGAZINE ISSUE 7 PAGE 48
GUIARBENCH MAGAZINE ISSUE 7 PAGE 48
Even more o late
Even more o late, a third species o
, a third species o Brazilian
Brazilian
rosewood, Dalbergia Spruceana -- which
rosewood, Dalbergia Spruceana -- which
species can be identified b
species can be identified because there are
ecause there are
still standing trees available to study -- has
still standing trees available to study -- has
been being logged
been being logged and imported rom arther
and imported rom arther
up North. While Dalbergia Spruceana can be
up North. While Dalbergia Spruceana can be
as live as Dalbergia Nigra, to the eye it looks
as live as Dalbergia Nigra, to the eye it looks
compara
comparatively waxy, pale, and
tively waxy, pale, and less appealing.
less appealing.
Te soils o
Te soils o Brazil have generously yielded
Brazil have generously yielded
their riches to many exploiters over the years;
their riches to many exploiters over the years;
besides the rosewoods rom Rio, Bahia and
besides the rosewoods rom Rio, Bahia and
Minas Gerais, the
Minas Gerais, the state o Pernambuc
state o Pernambuco (at
o (at
Brazil’
Brazil’s Eastern
s Eastern tip) is
tip) is o course amous
o course amous or
or
having given the violin world the exotic wood
having given the violin world the exotic wood
o that name, and which is so prized or the
o that name, and which is so prized or the
making o the best violin bows.
making o the best violin bows.
25. GUIARBENCH MAGAZINE ISSUE 7 PAGE 49
GUIARBENCH MAGAZINE ISSUE 7 PAGE 49
Fifh,Tere is one new supply o Dalbergia
Fifh,Tere is one new supply o Dalbergia
Nigra that has been entering the market o
Nigra that has been entering the market o
late -- along with
late -- along with an equally “new” supply o
an equally “new” supply o
the other Brazilian rosewoods, o course: it is
the other Brazilian rosewoods, o course: it is
rom reclaimed timbers rom old buildings,
rom reclaimed timbers rom old buildings,
dams, and other structures. Recycling these
dams, and other structures. Recycling these
woods has become quite a thriving
woods has become quite a thriving and
and
competitive business,
competitive business, actually
actually.
. Contractors
Contractors
bid on demolition jobs and the winner gets to
bid on demolition jobs and the winner gets to
dismantle the structure and sell off the timbers,
dismantle the structure and sell off the timbers,
flooring, beams, etc. Tese are all
flooring, beams, etc. Tese are all legitimate
legitimate
pre-Cites woods, so as long as one has the
pre-Cites woods, so as long as one has the
requisite demolition permits it’
requisite demolition permits it’s not i
s not illegal to
llegal to
own them.
own them.
In cases o doubt, these old timbers are subject
In cases o doubt, these old timbers are subject
to modern carbon-dating, which will give
to modern carbon-dating, which will give
an appro
an approximate time o when the
ximate time o when the tree died.
tree died.
Nonetheless, all o this timber has been
Nonetheless, all o this timber has been in old
in old
and abandoned buildings or decades
and abandoned buildings or decades now
now
in any event, so questions about its age are
in any event, so questions about its age are
technicalities that are probably most useul
technicalities that are probably most useul
toward stoppin
toward stopping po
g poachers rom “laundering”
achers rom “laundering”
more recently elled -- and thereore illegal --
more recently elled -- and thereore illegal --
timbers.
timbers.
Te fly in the ointment is that while it is not
Te fly in the ointment is that while it is not
illegal to own these materials, it is -- thanks
illegal to own these materials, it is -- thanks
to the CIES and LACEY acts -- illegal
to the CIES and LACEY acts -- illegal to
to
ship them across national boundaries
ship them across national boundaries without
without
permits.
permits.
26. GUIARBENCH MAGAZINE ISSUE 7 PAGE 50
GUIARBENCH MAGAZINE ISSUE 7 PAGE 50
Tis is a whole other can o worms. B
Tis is a whole other can o worms. Because
ecause
there is potentially so
there is potentially so much money involv
much money involved
ed
(i.e., high demand with limited supply), the
(i.e., high demand with limited supply), the
processes or applying and being given permits
processes or applying and being given permits
are complicated
are complicated, expensive, and
, expensive, and not a
not a little
little
corrupt -- and
corrupt -- and there are controver
there are controversies and
sies and
conusions as to which sets o do
conusions as to which sets o documents are
cuments are
actually legal, and which are not. As I said,
actually legal, and which are not. As I said,
there’s money to be made here.
there’s money to be made here.
Sicth, I mentioned that Dalbergia Nigra used
Sicth, I mentioned that Dalbergia Nigra used
to grow in a specific region o Brazil w
to grow in a specific region o Brazil whose
hose
climate and soil would have been
climate and soil would have been simpatico to
simpatico to
that species o tree, but that its habitat has been
that species o tree, but that its habitat has been
converted to armland and
converted to armland and destroyed.
destroyed.
Te phrase “its habitat has b
Te phrase “its habitat has been destroyed”
een destroyed”
means that Dalbergia Nigra cannot ever grow
means that Dalbergia Nigra cannot ever grow
there again -- regardless o what efforts
there again -- regardless o what efforts were
were
to be made to g
to be made to grow it under planta
row it under plantation (i.e.,
tion (i.e.,
saeguarded rom poachers) conditions. Te
saeguarded rom poachers) conditions. Te
ecology that made lie possible or these trees is
ecology that made lie possible or these trees is
gone. Tereor
gone. Tereore the supply is limited,
e the supply is limited, as I said
as I said
above, to whatever hoards have been kept in
above, to whatever hoards have been kept in
warehouses, as well as in the recycled timbers
warehouses, as well as in the recycled timbers
business.
business.
I want to give you an idea o what “its
I want to give you an idea o what “its habitat
habitat
has been destroyed” means. I lived in South
has been destroyed” means. I lived in South
American rom 1966 to 1968, and in 1967 I
American rom 1966 to 1968, and in 1967 I
took a trip through Brazil. I flew rom Rio de
took a trip through Brazil. I flew rom Rio de
Janeiro to Manaus, across the length o Brazil
Janeiro to Manaus, across the length o Brazil
and over the
and over the Amazon orest, in a
Amazon orest, in a our-p
our-propeller
ropeller
passenger plane. Te flight took ei
passenger plane. Te flight took eight hours
ght hours
and covered a distance roughly equivalent to
and covered a distance roughly equivalent to a
a
trip rom San Francisco to Boston. And all
trip rom San Francisco to Boston. And all that
that
time, we flew over a solid and uninterrupted
time, we flew over a solid and uninterrupted
carpet o green orest below. Tat’s right: eight
carpet o green orest below. Tat’s right: eight
steady hours o green orest. Te plane also flew
steady hours o green orest. Te plane also flew
over vast stretches -- miles and miles wide -- o
over vast stretches -- miles and miles wide -- o
the Amazon river itsel: the land is flat, and
the Amazon river itsel: the land is flat, and the
the
river was plentiul and, lacking banks in many
river was plentiul and, lacking banks in many
places, it became a moving wetlands the width
places, it became a moving wetlands the width
o Connecticut.
o Connecticut.
Tat landscape is pretty much gone; what isn’t
Tat landscape is pretty much gone; what isn’t
yet gone will be gone soon.
yet gone will be gone soon. Te significance
Te significance
o this is that the climate in that part o
o this is that the climate in that part o the
the
world -- and the rest o the world along with it
world -- and the rest o the world along with it
-- is permanently changed. As continent-sized
-- is permanently changed. As continent-sized
patterns and amounts o water-evaporation
patterns and amounts o water-evaporation
change, so do continent-sized patterns o wind
change, so do continent-sized patterns o wind
movemen
movement. Such changes in the c
t. Such changes in the cycling and
ycling and
recycling o airborne moisture also means
recycling o airborne moisture also means
changes in patterns and amounts o rainall .
changes in patterns and amounts o rainall .
. . and temperature . . . and humidity . .
. . and temperature . . . and humidity . . . and
. and
climate in general.
climate in general.
Te Amazon basin has recently -- or the
Te Amazon basin has recently -- or the
first time in its history -- been experiencing
first time in its history -- been experiencing
droughts. Te Amazon river’s levels are
droughts. Te Amazon river’s levels are
down. Te water level o the
down. Te water level o the Marañon river
Marañon river
(which joins with the
(which joins with the waters o the Huallaga
waters o the Huallaga
to orm the Amazon) is down by fifeen eet.
to orm the Amazon) is down by fifeen eet.
Navigation and fishing is made impossible.
Navigation and fishing is made impossible.
As the orest has been
As the orest has been clear-cut, water runoff
clear-cut, water runoff
patterns will have changed as well; when there
patterns will have changed as well; when there
is water runoff, erosion o the soil ollows such
is water runoff, erosion o the soil ollows such
conditions; when there is no
conditions; when there is no water
water, the s
, the soil
oil
dries out. With the wholesale arrival o arming
dries out. With the wholesale arrival o arming
and cattle ranching the pH o the soil will o
and cattle ranching the pH o the soil will o
course also have been altered -- by the use
course also have been altered -- by the use o
o
chemicals, the presence o new
chemicals, the presence o new waste products,
waste products,
and the absence o the old ones. Not least, the
and the absence o the old ones. Not least, the
Amazon basin’
Amazon basin’s ecolog
s ecology o
y o wildlie --
wildlie -- animals,
animals,
birds, fishes, insects, and
birds, fishes, insects, and probabl
probably even
y even
bacteria -- lie will have been disappearing as
bacteria -- lie will have been disappearing as
well. On top o it all, new plants will o course
well. On top o it all, new plants will o course
have been brought in with the
have been brought in with the new population
new population
and its agriculture, and they will have urther
and its agriculture, and they will have urther
27. GUIARBENCH MAGAZINE ISSUE 7 PAGE 51
GUIARBENCH MAGAZINE ISSUE 7 PAGE 51
degraded the original environment . . . and
degraded the original environment . . . and
so on.
so on. Needless to say, losing a orest almost
Needless to say, losing a orest almost
the size o
the size o the United States has implication
the United States has implications
s
or the planet’s capacity to retrieve and store
or the planet’s capacity to retrieve and store
carbon dioxide and replenish oxygen -- which
carbon dioxide and replenish oxygen -- which
is what trees do. Dalbergia Nigra is
is what trees do. Dalbergia Nigra is not going
not going
to make a comeback, even with plantations set
to make a comeback, even with plantations set
up here or there, any more than having a ew
up here or there, any more than having a ew
polar bears in
polar bears in zoos constitutes the polar be
zoos constitutes the polar bear’
ar’s
s
making a comeback.
making a comeback.
Seventh, obviously
Seventh, obviously, the
, the mention o Brazilian
mention o Brazilian
rosewood brings
rosewood brings complica
complicated matters into any
ted matters into any
discussion; in this
discussion; in this instance, it touches on world
instance, it touches on world
climate chang
climate change. Te Amazon basin has be
e. Te Amazon basin has been
en
the world’s largest wetlands ever, bar none --
the world’s largest wetlands ever, bar none --
and within my
and within my lietime what has
lietime what has been a
been a V
VAS
AS
orest has been converted to armland the size
orest has been converted to armland the size
o Western-plus-part-o-Eastern Europe. [Te
o Western-plus-part-o-Eastern Europe. [Te
land mass o Europe as a whole is 3.9
land mass o Europe as a whole is 3.9 million
million
square miles -- but, ormally speaking,
square miles -- but, ormally speaking, that
that
includes part o Russia;
includes part o Russia; the “line” that divides
the “line” that divides
Europe rom Asia includes part o Russia. Look
Europe rom Asia includes part o Russia. Look
it up in Wikipedia.]
it up in Wikipedia.]
Finally
Finally, as I said,
, as I said, I do love Dalbergia Nigra
I do love Dalbergia Nigra
-- as only a woodworker can. I am sorr
-- as only a woodworker can. I am sorry that I
y that I
have been part o the demand that has helped
have been part o the demand that has helped
to eradicate its habitat. Y
to eradicate its habitat. Yet, the use
et, the use o this
o this
marvelous wood is in part
marvelous wood is in part responsible or ho
responsible or how
w
good my guitars sound. And I haven’t used up
good my guitars sound. And I haven’t used up
compara
comparatively much o this wonderul wood;
tively much o this wonderul wood;
my lietime use o it amounts to about one
my lietime use o it amounts to about one
cubic meter’s worth. Tose o us who work with
cubic meter’s worth. Tose o us who work with
it know how acoustically live it is: you can pick
it know how acoustically live it is: you can pick
a piece o it up and tap it, and it wil
a piece o it up and tap it, and it will ring like a
l ring like a
gong, a bell, a marimba, or a crystal glass. Tey
gong, a bell, a marimba, or a crystal glass. Tey
used to make marimbas out o it, as
used to make marimbas out o it, as a matter o
a matter o
act: this wood
act: this wood sings
sings.
.
“
“I do love Dalbergia Nigra
I do love Dalbergia Nigra
-- as only a
-- as only a woodworker
woodworker
can.
can.”
”
