customguitarboutique.com Luthier Interviews

Every once in a while you come across a luthier and your not quite sure if you are interested, but something peeks your interest just enough to follow through with an inquiry….So is the case with Fernando Alonzo Jaen.

Fernando Alonso Jaen is a luthier based in Cuenca, Spain (of all places).  We thought he made some nice archtops so contacted him. What we found was a luthier who was very well versed in the Art of guitar making. I know, a spanish luthier building archtops?  seems far fetched!

After all those spanish guys only build flamenco and classical…right? WRONG!

As we went back and fourth with emails it was pretty amazing to see how in depth this spanish jazz master can talk about archtops, from different body shapes and sizes, finishing techniques and different pickup configs…Fernando didn’t miss a beat when asked anything about Archtops..it was actually quite educational.

However, building archtops did not come easy for Fernando, starting in the early 90’s as a part time luthier, fernando had to dig deep for any info regarding archtops as the luxury of the internet was practically non-existent at that time. Because of this Fernando was able to learn alot on his own and come up with a few of his own innovations.

So when Fernando asked: Why don’t you tell me what you want and I’ll build you something totally different”….we jumped at the idea and the Namibia was born.

Customguitarboutique.com: Let’s start from the beginning how did you generate interest in the guitar?

Fernando Alonso Jaen: Since I was a kid, there were always guitars at home, as my brother was a player. I was around  fourteen when I decided to learn to play them, simply because other friends at school were doing the same.

customguitarboutique.com Namibia model

CGB: What inspired you to become a luthier?

Fernando: I still have some blueprints that I made when I was around 18, but didn’t use them at the time: making an archtop appeared to be incredibly difficult. Years later, a workmate and I were playing together in a jazz band. I used a Ibanez Joe Pass, which is a great instrument, but what we both really wanted was carved guitars. We started talking about making carved-top guitars for ourselves. I guess that we pushed each other somehow, because we managed to buy some expensive cello wood and tools and had our guitars ready around one year later, which is rather fast given the limited tooling and information. This was around 1992-1993, bad times for getting the necessary information, but let me tell you that you learn a lot when you have to find solutions to problems all by yourself. Later, when you learn how others do things, you may find that some of your methods and tooling are similar. I learnt a lot with my first guitars.

CGB: When did you finally realize you could earn a living building guitars?

Fernando: I made some repairs and even sold some guitars when that was not my primary activity. I had contacted with musicians and dealers and I was very lucky because I found some great guitar connoisseurs among them. They guided me a lot, and I also made contact with some older instruments, both American and European. I learned to stay away from the three thoughts that separate amateurs from professionals: “That defect will go unnoticed”, “This is an object of craftsmanship, so some defects are allowed” and “This is for me (or for someone who understands my faults)”. I think that I was prepared to go professional around 2000, but I waited until 2003.

Under the hood of customguitarboutique.com' Namibia model

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Fernando: Thinking! It may seem a strange thing for those that think that guitar makers are hand workers, but it is quite stimulating to get orders for new things that represent a design or woodworking challenge.

CGB: What is your luthier or guitar building horror story?

Fernando: Some say that the best luthier is the one that hides his defects best, and the best way for that should be not to talk about them… anyway, I’ll do it. I remember having problems with the adhesive for plastic bindings. At one time I decided to try different things, and then I discovered a product called Paraloid (Acryloid) B72, used by museum curators. I found it easily, and started making some adhesion tests with it, using different solvents. I saw that I could prepare a better glue than what I was using at that time, but I didn’t realize that it had a very low “Glass Transition” temperature, of only 40ºC. I made a batch of guitars with it, and then I realized that the bindings were separating… nasty!

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Fernando: I think that both players and makers know a lot more about any aspect of guitar making. The availability of information today is incredible. However, what impresses me more is what didn’t change: there are still many irrational thoughts on most aspects of guitar-making. I can see that these will not disappear easily, as there are makers and dealers that base their business on them, and there are also many players that confirm them, perhaps because they are too impressionable. I’d be glad if someone started making serious experiments and blind tests to establish the truth behind so many myths.

Namibia carved and ready for finishing

CGB: Tell us a bit about your guitars, how would you describe them?

Fernando: I make archtops in several sizes, from 15 to 18 inches, and if I had to mention what they all have in common, it must be that I always try to stay traditional and keep the innovations as much “under the hood” as possible. Regarding design in general, I enjoy some new f-hole or tailpiece designs that I see around me, but I don’t like guitars that depart a lot from the usual proportions and shapes. Regarding my personality, I am conscious that it is hidden in my eclectic designs in terms perhaps only evident to me, but I consider that this has a positive side: there is not a insurmountable “personality barrier” between my customers and myself.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Fernando: Your mention of cocobolo makes me think of its smell like honey and its beauty, but it causes me eye irritation and cocobolo fittings may stain the guitar lacquer even after taking the usual precautions. Definitely, not a favorite. For me, Rosewood is a favorite and it is a pity that it hasn’t been used traditionally for archtop guitars (I still expect that someone orders a Rosewood carved back from me). It bends incredibly well, smells great and is a joy to work with.

Namibia Wiring config for Bartolini PBF55/PBF57 Pickups

CGB: What would you say to up and coming builders who are just starting out?

Fernando: I would tell them to listen to the ideas coming from the players. They are the ones who find the problems of existing instruments, and many makers don’t seem to hear them. Some among those ideas will need a little shaping and definition, but you must not discard them immediately. Also, don’t trust your friends and family when it comes to judge your guitars: they are always blind and deaf. If possible, take it to an expert player/maker who hates you.

CGB: In your opinion who is the most influential Luthier?

Fernando: For me, maker of archtop guitars, it is Bob Benedetto. He wrote the book and made some of the finest archtop guitars out there. Regarding mass produced guitars, I admire Bob Taylor for his production methods and the quality and attention to detail of his instruments. Among the “Classics”, I admire Leo Fender for his innovations, production methods and open mind. Also Antonio de Torres, because he gave shape to the Modern Guitar, and he did it with very limited resources. And, as I feel a strong connection with almost everyone involved in this craft, I admire everyone that has dedicated his life to it.

The Namibia is available for a test drive by appointment only at customguitarboutique.com…if you are interested in test driving it please contact us.

Seppo Valjakka of Frankinstein Guitar Works (CA) is one of the most versatile luthiers we’ve come across. With a career as a luthier Hot Rodding and doing his own custom guitar builds spanning 40 years, there is nothing Seppo can’t build.

From your traditional Les paul, Strat, tele, explorer or Jazz Archtop type guitars. To complex wood carved, box or tin one off guitars, to out of this world paint jobs.  Seppo sets himself a part as a master of all.

Fact: There is nothing he can’t build!

Seppo has been at it Full time since 2001 operating under the name Frankinstein Guitar works. A name that accurately represents his work. Seppo does not limit himself to custom builds. He will hot rod/mod, refinish or repair your current guitar.

He also has one of the biggest inventories of old parts that are not manufactured anymore, so as stated earlier. There is nothing he can’t build.

Seppo put his tools down to answer our blog questions and shed some light on guitar building, influences and how he  became a master of all.

Custom Guitar Boutique:  Let’s start from the beginning how did you generate interest in the guitar?
Seppo Valjakka: Wanted to be a rock star/chick magnet as did/do millions of teenage males.

Frankinstein Explorer ready to be wired

CGB: What inspired you to become a luthier?
Seppo Valjakka: Natural curiosity and lack of money. As a youth, I couldn’t afford the guitars I wanted, so I started hot rodding cheaper models like teles. As years went by, I found the models I originally wanted didn’t fit my needs, so I started building in the features I craved.

CGB: When did you finally realize you could earn a living building guitars?
Seppo Valjakka: As soon as others players started to pay me for my work….. may never get rich, but it’s way better than working for someone else (I’ve never met a wealthy luthier).

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?
Seppo Valjakka: Strive to create the perfect instrument (even though I appreciate this is an impossible task) and

One of Seppo's Lefty Archtops

constantly learn to improve my craft and skill set.

CGB: What is your luthier or guitar building horror story?
Seppo Valjakka: Messed up a beautiful piece of wood while trying some new method or tool.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?
Seppo Valjakka: When I started there were no aftermarket parts, period. Hence the hot rodding aspect; stealing parts from other instruments to improve yours. Now with kit instruments, building is easier; parts abound as do ghost builders eager to provide pieces that one cannot create.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?
Seppo Valjakka: Most clients feel they have a working knowledge of their instruments when in most cases they only know what the factory spin doctors have told them. Given that the factories are interested in only one thing – the bottom line,  important subjects are distorted and misrepresented. As a builder, I offer information and alternatives to the “same old, same old”. The creative minds in the factory settings are all gone; accountants run the show. Only the small builders explore concepts to improve the products.

Unfinished Frankinstein Flamed V-shape guitar

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.
Seppo Valjakka: With the internet, the world is a luthier’s oyster; woods from all over the globe are available and having a “favourite” is too restrictive. I love so many types of woods that I cannot simply pick one – ease of use doesn’t enter into the equation.

CGB: What would you say to up and coming builders who are just starting out?
Seppo Valjakka: Have at it, you’re the future; otherwise we’re doomed to re-hashing the “historic classics” forever. Don’t be afraid to mess up; not every idea will  be a winner, but if you don’t try, how will you know?

CGB: In your opinion who is the most influential Luthier?
Seppo Valjakka: Easy question, Tony Zemaitis. I try and model my ethics and practices after his; one of the world’s greatest luthiers, albeit one of the least recognized 9 save for his clients).

Frankinstein guitar works may be purchased via: customguitarboutique.com Come pay us a visit.

Balazs Prohaszka is a Hungarian Luthier based out of Ireland. The first time we heard of him was through one of his customers who basically just said “Hey, check this guy out, he might be a nice fit for your business model”.

That is one of the best emails we ever received.

Balazs is a Luthier who builds with an “outside of the box” mentality. He has his own vision of what a guitar should look and sound like, and pays special attention to what goes under the hood of his guitars and is not afraid to try different materials. Yet, his guitars are appealing to any guitar connoisseur.

In addition to his own workshop, Balazs is sought after by some of the biggest guitar companies to build prototypes and guitar consultations. Balazs took a break from his very busy schedule to answer some questions.

Custom Guitar Boutique: Let’s start from the beginning how did you generate interest in the guitar?

Balazs Prohaszka: I started obviously with playing it, I was fascinated by its sound, the richness, and versatility what makes it an essential contributor in modern music.

CGB: What inspired you to become a luthier?

Balazs: It was clear for me I will never be a musician, I like to entertain myself playing the guitar but I am too introverted to play for others, but I was caught in the magic of the guitar and wanted to stay close to it in the rest of my life. And also i was always doing some projects having good manual and drawing skills and it was a perfect combination: music, crafts, art.

CGB: When did you finally realize you could earn a living building guitars?

Balazs LA1-Top Archtop Model

Balazs: I haven’t thought about it, I was always doing what my heart told me to do regardless how viable is the road I am on. With beliefs anything is achievable. I have been earning my living  from working with musical instruments for 12 years, in the last six exclusively from guitar-building.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Balazs: Not much changed. Obviously I learned a lot from experience, but the essentials remained the same: the desire to achieve the best possible result, respect for the wood, music and craft. I can not compromise with my ideas, such  laziness is unforgivable, and also kept my adventurous spirit to get off the beaten track.

CGB: What is your luthier or guitar building horror story?

Balazs: My very first order: everything went wrong, it took at least twice as much time to build that guitar as it would be normal to correct all the mistakes. But finally it was a great instrument with an absolute satisfaction of my customer and he is thinking to order the second one…

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

It is getting increasingly competitive, the main markets are fluctuating, far eastern companies pose a bigger threat with

Some of Balazs intricate Inlays

better quality cheap guitars.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?

Balazs: Yes, I start a conversation. I try to see the person, the personality, what is his playing style, what type of music he is playing, what are his requirements, then come up with suggestions, advices. We try to find out together what would suit him the best.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Balazs: Soundwise cocobolo, ziricote, honduran mahogany with a good quality stiff spruce topwith glassy tap tone. Not so much a cedar fan. But I have indiscriminate love towards any guitar I am building regardless of used woods and I always try to find the best for the actual project therefore it would be difficult to say: that is my favourite. Astonishing results can be achieved by using any type of wood if we treat the instrument with respect, love and put all our knowledge and imagination into the building process.

Another one of Balazs inlay Designs

CGB: What would you say to up and coming builders who are just starting out?

Balazs: I would not like to say anything.

CGB: In your opinion who is the most influential Luthier?

Balazs: I am very independent minded and I try not be influenced by anyone. There are many makers whose work deserves the highest respect and aknowledgement. There are also many overrated luthiers. I do not stick to the traditions meanwhile many of us do therefore for the community of luthiers those are the most influential who established these traditions. I would like to mention only two names despite there are really really great works from many luthiers: James D’Aquisto and Mitsuhiro Uchida from Japan. Their spirit and approach has a great impact on my thinking but not neccessarily their style.

Balazs Prohaszka guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com currently has one of Balazs guitars (The SJ Standard) to help our customers decide if they would like to purchase one. We are also awaiting the arrival of one of Balazs Classical guitars which will be arriving in september 2010.

If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.

Frank Hartung has quickly joined the ranks of some of the most legendary builders. A carpenter by trade; Frank decided to try his hand at guitar building after finding what was on the market to be less than suitable for his needs.

With an  impressive collection of his own line of guitars,  including but not limited to the  Diavolo and Embrace which cannot be mistaken for anything other than franks creations.  Frank has built guitars for many European acts as well as World renown guitarist Steve Stevens.

It’s only a matter of time before franks name starts getting thrown into conversations about Hauser, Les Paul and Leo Fender.

Frank gives a tell all on how he became one of the most cutting edge innovative builders of the Decade.

Customguitarboutique.com:  Lets start from the beginning how did you generate interest in the guitar?

Frank Hartung: Like so many people my musical tastes changed over the course of time.

Growing up I was interested in rock, blues and metal music. My favorite band at that time greatly influenced me, especially the guitar parts.

So I started getting interested in guitar and learning to play guitar.

CGB: What inspired you to become a luthier?

Frank Hartung: I bought a guitar from a reputable manufacturer. Unfortunately, I was not satisfied and tried to make improvements, which were limited.  I studied the design and dimensions.

Because Im a skilled carpenter and I knew how to work wood, I thought to myself, “I’ll try it just once”.

My first guitar, ENIGMA blue had become very good, Other Luthiers confirmed that and the guitar building bug bit me ……

This was followed by more and more guitars, which then sold fairly quickly, that was a sign that I was on the right path.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Frank Hartung: There really are not many things that I’ve changed over the years.

Of course, you learn a lot about this, this is quite normal. I now work more conscientiously because I know what it takes.

The model forms have been refined a little, the materials are made of high quality, and last but not least you get develop an ear for the way a guitar should sound.

But basically has not changed much, for me it’s still just as exciting as the beginning.

CGB: What is your luthier or guitar building horror story?

Frank Hartung: A horror story would be if during a performance in front of 100.000 people one of my guitars would fall apart or wouldn’t work. Fortunately that has not yet happened, it’s also not likely to. But such thoughts still keep me awake at night.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Frank Hartung: Today, there are much better tools to make this a lot easier. Nevertheless, it remains a handmade guitar, despite all the technology.

Another important point is the Internet, without that I would not be able to offer my guitars in the States. That is probably the most important change in our time and we take it for granted.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars? How did you deal with it?

Frank Hartung: I believe everyone is a little afraid of what hasn’t been done before.

There are certainly things that are feasible, but also those which cannot be done, simply because it is too specific and there is no (Luthier) background
knowledge required.  I think you should be honest with yourself about your limitations.

CGB: Do you have any favorite woods as far as sound and ease of use? For example, I know cocobolo is very dense and can be a challenge to carve by hand.

Frank Hartung: My favorite wood is actually maple, even though it is quite traditional.

It grows in many different species such as birds eye maple, flamed and quilted. Maple is very diverse and fully carved and painted it just looks fantastic.

Thats my favorite.

Steve Stevens Playing his hartung

CGB: What would you say to up and coming builders who are just starting out?

Frank Hartung: I would say: believe in yourself, and you will get the necessary staying power to be successful!

CGB: In your opinion who is the most influential Luthier?

Frank Hartung: For me Teuffel Ulrich is the most influential luthiers of our time. He is innovative, accurate and it knows how to work logically.

His instruments are works of art in itself.

customguitarboutique.com is a full line dealer for Franks guitars, if you are considering purchasing one,

Billy Rowe of Rock n Roll Relics is not your most traditional Luthier. For starters he is quite an accomplished musician.

A founding member of the 80’s band Rock band JETBOY, (who have since reunited with a new release out March 2nd), have done countless worldwide and US tours and sold over 300,000 records. He also had a run with his 90’s band American Heartbreak on a more punk rock level.

Billy still manages to output some of the most gorgeous Relic and period pieces that are to die for.

That being said Billy was kind enough to answer our 10 Luthier Questions.

CGB: Let’s start from the beginning how did you generate interest in the guitar?

Billy: My Introduction to guitar was seeing Ace Frehley of KISS with his Tabacco burst Les Paul slung down low !! from that day on It was all about Guitars and Rock N’ Roll.

CGB: What inspired you to become a luthier?

Billy: I was always Into working with with hands since I was a kid from car model kits to tinkering on my guitars. In high school I built my first electric solid body guitar. Through the years I put together guitars which lead to me having a business building Relics.

CGB: When did you finally realize you could earn a living building guitars?

Billy: I restored an old 1966 Telecaster and decided to build a clone version for myself which I ended up selling. After surfing the Internet I saw there was a growing love for beat up relic guitars so I started Rock N’ Roll Relics and It’s been growing more for me each year.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Billy: I’d say a little bit of everything still, from emailing customers to building the guitars and taking photos of them. The one thing I don’t do now Is my website.

CGB: What is your luthier or guitar building horror story?

Billy: Hmmm, luckily nothing to be, maybe over aging some parts ?? but that happens when your doing more than one thing at a time.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Billy: Not to much ? there’s definitely more of a want for what I do out there now which means more people trying to build good looking relics.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?

Billy: Never really experienced this, they pretty much know exactly what they want, or leave it up to me from seeing my work.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Billy: Well, since my main thing Is Tele and Strat clones It’s mainly Ash and Alder I work with.

CGB: What would you say to up and coming builders who are just starting out?

Billy:Pay attention to detail, It goes a long ways.

CGB: In your opinion who is the most influential Luthier?

Billy: I don’t really have a favorite or a main Influence when It comes to this, I think those who are good at what they do stand their own ground, I’v seen work by many great builders and I salute them all.

Rock n Roll Relics guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com is currently awaiting the arrival of a period piece to be sold exclusively via Customguitarboutique.com. If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.

This month we are changing things up a bit. We pursued Marco Sfogli who is one of Rash Guitars artists and see if he would take the time to talk to us about his Guitar.

Marco was very generous with his time and gladly agreed to talk about live performance, gear and his Signature MT Monster by Rash.

Italian Virtuoso Marco Sfogli has proven that he is a force to be reckoned with in the Guitar World.

Marco is most known for his guitar work on the James Labrie Album Elements of Persuasion and has shared the stage with the likes of Jordan Rudess and Alex Argento just to name a few; and his Album “There’s Hope” takes us through a very diverse repertoire of Marco’s extraordinary technique and songwriting abilities.

CGB: Let’s start from the beginning how did you generate interest in the guitar

Marco Sfogli: I always had guitars around here, my parents are both musicians. My father in particular is a classical guitarist and that eventually influenced me on choosing the main instrument. Before that I switched a lot of instruments, I was an undecided!!! Percussions first, drums next and even keyboards for a short amount of time. I wasn’t forced to play tho, they’ve been always supportive letting me to decide whether becoming a professional musician or not.

CGB: How did your endorsement with Rash Guitars come about?

Marco Sfogli: It happened soon after the Elements of Persuasion tour, back in 2005. I was a Music Man guy, played the whole record and the following tour with Petrucci guitars and felt it was the right time to have something different, something more personal.

I contacted several other companies, some of them very big in the biz but didn’t get any reply so I came across a sort of video footage of a showcase held in Italy and there were these beautiful guitars at some point. Dropped an email to Ruggero at Rash and he was kind enough to send me a prototype which was awesome. It just felt mine from the first time, the quality of the neck and the body shape, everything was just perfect. With some tweakings we came out with the signature model which is exactly what I’m using right now since.

CGB: Tell us a little bit about your signature guitar with rash that we don’t already know

Marco Sfogli: Hmmm, probably that it sound better than any other guitar I’ve owned and tried so far? Hahaha, there’s not much to know than what is known already, we experimented a lot with different pickups, different bridges and so on and in the end it sound great anyway. Also the standard version is superlight which is very good if you have to play every night and he mount stainless frets which are very very hard to wear.

CGB: When did you finally realize you could earn a living Playing professionally?

Marco Sfogli: Soon after I finished the high school. I knew I was ready and tried to get some notoriety in my area playing gigs with cover bands and with my parent’s band at the same time, doing some sessions for recording studios and of course private lessons. Once I got the spot on Alex Argento’s “EGO” I felt I was ready.

CGB: Be honest! What part of the world do you prefer to play the most and why?

Marco Sfogli: Most US players find Europe or Japan being their favorite places to perform. I think because this sort of “magic” that an US name brings with it. For an European guy I think it’s quite different, I didn’t get the same response in Europe like I had in the US, probably ’cause I’m European, I don’t know but it’s the exact opposite. Never been in Japan though, but would love to play there so in the end the best place I’ve played so far is the States. The reaction I got there was absolutely amazing and totally unexpected! Too bad it were just three shows.

CGB: I noticed on your website you are selling some of your gear, are you upgrading to some new gear?, what’s in the new marco guitar setup these days?

Marco Sfogli: Sold some stuff that didn’t really used anymore. Some rack gears for example, I had a Triaxis since the James LaBrie tour and I felt it was time to change. These days I’m using a mix of real tube amps, mostly a Mesa Boogie Lonestar and Studio Preamp for leads and cleans and this unit called Axe FX from Fractal Audio for all the rhythms and weird effects. I think I found my holy grail in terms of tone!

CGB: So we know you have the chops to hold your own with the Petrucci’s and Gilbert’s of the world, what other style of guitar playing would you like to pursue in the future if any?

Marco Sfogli: I actually like the way I play right now. Even if I’ve been labeled as a Petrucci clone since the beginning, and that’s a hard label to deal with, I think I have my own voice on the instrument. Of course there’s still a lot of ground to work on but I feel comfortable now technically and melodically speaking, I would like to be able to write better songs.

CGB: What doesn’t the guitar world know about Marco Sfogli, the Italian guitar virtuoso?

Marco Sfogli: That I play also typical folk instruments like Mandolin, Mandocello and Mandola for example. Or maybe that I’m about to become a father…that I’m lazy almost like the Dude from Big Lebowsky and that I still play Playstation 3 in my spare time. And this is just the tip of the ice, there are so many things that people don’t know about me.

CGB: What can your American fans expect to see in 2010 from you?
Marco Sfogli: A load of things, I got involved in so many projects recently but can’t say more. Probably even a new solo record when I’ll be able to find the time.

CGB: What advice would you give to up and coming guitar players that want a career in music?

Marco Sfogli: The advice I can give to up and coming guitar players is to listen as much music as possible, don’t stick to one genre and keep an open mind. If you want to be a pro you gotta be well trained to any musical situation!

CGB: In your opinion who is the most influential Guitar Player of all time?

Marco Sfogli: Both Jimi Hendrix and Eddie Van Halen had the same impact on the guitar scene back in the day. So I guess these two, with all the respect for the rest!

Rash guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com currently has one of Rash’ guitars to help our customers decide if they would like to purchase one. If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.

Italian Artisan Davide Garbujo has it all. Excellent work ethic, flawless woodworking technique, his own proprietary pickups and the largest guitar building workshop in all of Italy.

Yet, with all of his great accomplishments he is the nicest, most modest Luthier we’ve come into contact with.

At a recent viewing of his guitars in NYC, Jazz sensation Mike Moreno said: ...wow, I wish I had a guitar like this when I was playing with Joshua Redman, I can’t believe how effortlessly the sound comes out of these pickups without even trying.

NYC Jazz Composer/Vocalist Guitarist Joe Giglio told me: “It’s really nice to play in the upper registers, your hand fits right in….btw, can I buy some of davide’s pickups? These things are Warm as…..”(I”m sure you know what he meant.)

There is so much happening for 2010, Davide will unveil a few new project’s he’s working on that will surely blow us all away, the fuse we currently have can go from, archtop like Jazz tones, to stratty like round tones, to hot rodded shred tones. We are so happy to be working with davide and are grateful he took the time to chat with us.

CGB: Let’s start from the beginning how did you generate interest in the guitar?

Davide: I started playing the piano as a child. I made it into the conservatory and then after 10 years I moved on to keyboards.

Like all teenagers I was a rebel. I absolutely wanted to be a rockstar. One day making room in the garage to play with some friends, I found an old electric guitar that had only 3 strings; I had never played a guitar up to that moment so three strings was plenty for me..

I remained literally bewitched by that Instrument, that’s how it all started.

CGB: What inspired you to become a luthier?

Davide: As a child I saw my father and my grandfather work with wood, this was always and still is a fascinating thing for me.

After a few years of studying the guitar I began to buy guitars of every type, even if my dream was a LP and a strat that naturally I could not afford. I started experimenting with guitars of every type, until one day decided that it was the moment to build the guitar of my dreams with my hands.

I began to harshly work using the tools of my father and the wood tables that I had found thrown on the side of the garage. Since that moment I developed an interest in guitar making, and all the famous luthiers.

One day fate put me in touch with a famous Italian luthier. I began to study and practice in a school laboratory with hopes to open mine.

CGB: When did you finally realize you could earn a living building guitars?

Davide: I decided to risk everything and try to earn my living doing this full time, it’s very beautiful to immerse yourself in what you love . In the beginning it is indeed hard, but now i’m here!

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Davide: A lot of things have changed since the beginning. I mainly worked in a garage doing repairs for friends and acquaintances, then the voice of reason finally arrived pushing me to get organized and open my own workshop.

I don’t work with numerical control machinery, mine is a completely manual job and to build a guitar introduces a different list of problems, in Italy they say that the art of an artisan is that to know him to get by and to always find a solution to the problems.

Today I can count on a woodshop that is organized in an efficient way that allows me to work in a clean and orderly fashion which gives me an advantage for a “high quality product”.

CGB: What is your luthier or guitar building horror story?

Davide: In July I participated as an exhibitor in the Montreal guitar show. I sent the guitars well in advance, to have the certainty that they would have arrived with punctuality.

Me and Igor (Mazzone); the guitarist that shows my guitars, had arrived in Canada but in the hotel they told us that they had not seen any guitar…

I look for the consignment through the website of the company of consignments but the guitars were still in Paris and there were only two days to the beginning of the show.

At the moment I became frozen with anxiety and then panic overcomes me! Naturally i spend the following night without closing eyes thinking to a possible solution. The following morning the organizers of the Show contacted me and they tell me that the guitars are found in customs but they don’t know if and when they will be released…what an anguish!

In the afternoon, I was contacted a few times by a customs agent who told me that he will deliver the guitars himself.

The following morning we went to the venue; all the other luthiers had already prepared their instruments and the show was about to open to the public, and I still don’t have the guitars.

At exactly a quarter before the beginning it sprouts from the void Fernando, a boy of the customs that tells me with the smile: “…are you Garbujo? Perhaps these are your guitars!”

The only thing that I have been able to say : “…. I love you!”

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Davide: I believe that the industry and the luthery cannot be compared. The numbers of the industry are gigantic, a luthier is an artist, is able to a relatively low number of instruments, to advantage of the quality’, surely.

Today’s industry offers products of Asian mass production with advantageous prices, giving the opportunity to everybody to have an instrument.

For the one who looks for something unique and personalized, a instrument without time, created completely by hand in small numbers, an instrument to be collected and hardly built with the best materials the luthier will be’ always the figure of reference.

A guitar of luthery is like a painting, a piece of art to jealously preserve and to taste with the soul, as a glass of good wine of year is tasted!

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars? How did you deal with it?

Davide: Over that for the finishes, details, design and the aesthetics my clients love the dynamics of my sound, the warmth, the expression.

I try to create a personal sound, that doesn’t imitate other guitars, but how tipsy of proper light.

I always succeed in understanding what a client wants, for me clients are special and I absolutely have to satisfy them.

When a client orders a guitar from me they know they will receive exactly the guitar they had in mind when they initially walked into my shop. This is the reputation I have acquired after years of working closely with my customers.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Davide: I primarily use mahogany and ash for the bodies and maple for top and necks. The maple quilted is the wood that I prefer for my tops, expect to see the range in 2010, it will be very rich.

CGB: What would you say to up and coming builders who are just starting out?

Davide: My suggestion would be to get a good teacher to learn from immediately so you can make things in the correct way.

Experimenting alone is a waist of a lot of precious time and money, if there is someone that makes you see the things in the correct way you’ll learn allot beforehand!

CGB: In your opinion who is the most influential Luthier?

Davide: There are so many the Luthiers that I esteem, a name doesn’t come particularly to mind but, if I had to recommend someone from Europe, I would say without a doubt Frank Hartung and Nik Huber and my teacher, Mr.Frudua.

Garbujo guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com currently has several of Davide’s Fuse guitars to help our customers decide if they would like to purchase one. If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.

Stuart Mewburn has been refining his craft as a luthier since 1972. This UK based luthier has made copies of some of the most influential builders of the modern guitar.

Stuart has had his fair share in researching the likes of Robert Bouchet, Santos Hernandez, Hernandez & Aguado, and Ignacio Fleta to name a few.

Stuart’s guitars are the next step! Improving upon what these master luthiers accomplished, stuart has added his own innovations to his guitars giving the player, better projection while preserving the aesthetic charm of the modern guitar.

CGB: Let’s start from the beginning how did you generate interest in the guitar?

Stuart: When I was a kid I discovered a record player in the attic and a pile of 78s beside it. One of those records was Hank Williams singing “Cigarettes and whisky and wild, wild women, they’ll drive you crazy, they’ll drive you insane.” I was hooked. I nagged my Dad until he got me some guitar lessons.
What inspired you to become a luthier – I saw a TV programme about a guy who lived in a trailer on Georgian Bay and made guitars in it. Some how he got his guitar into the hands of Segovia. Segovia was asked by the presenter what he thought. Segovia thought for a moment then said, “It is nice, but it doesn’t quite have…”. Here he put his finger tips together, pushed and then relaxed them. “…this” he said. I had no idea what he was talking about but the guy obviously loved what he was doing and wasn’t put off by the opacity of the remark. It stuck in my mind as an interesting thing to do.

CGB: What inspired you to become a luthier?

Stuart: I saw a TV programme about a guy who lived in a trailer on Georgian Bay and made guitars in it. Some how he got his guitar into the hands of Segovia. Segovia was asked by the presenter what he thought. Segovia thought for a moment then said, “It is nice, but it doesn’t quite have…”. Here he put his finger tips together, pushed and then relaxed them. “…this” he said. I had no idea what he was talking about but the guy obviously loved what he was doing and wasn’t put off by the opacity of the remark. It stuck in my mind as an interesting thing to do.

CGB: When did you finally realize you could earn a living building guitars?

Stuart: About 25 years after I built my first guitar.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Stuart: On a solera, the spanish way. Neck first, top next, then sides and back.

CGB: What is your luthier or guitar building horror story?

Stuart: A client from the US ordered a classical guitar. I was just finishing it and sent him some pictures. He said he’d changed his mind and wanted a flamenco guitar instead built with the same wood. I explained that the wood (very old Brazilian Rosewood) was now part of a classical guitar and I wasn’t about to take it apart.. Arguments went on for a month and finally he agreed to have the flamenco built in another set of rosewood.

When it was finished he complained about two filled worm holes in the new back which I thought added character. I told him that I was not going to send the guitar, that I did not want a client who was unhappy with my work and that we were finished doing business.

Then I got emails demanding I send the guitar, that, really, he liked it. In the end he sent the money and I sent him the guitar. Then he complained about the action being too high (it was under 3 mm at the 12th). So I sent him a list of luthiers in his area who could play with it. I never heard from him again. Interestingly, the first guitar I made for him was eventually bought by the head of all musical instruments and furniture at one of Britain’s great museums.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Stuart: There has been a lot of experimentation that has led to better made guitars. But it’s pretty hard to beat the sound of some of the earlier makers like Arias, Simplicio, and Santos Hernandez even if they aren’t as loud as modern guitars.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?

Stuart: Usually I have a conversation with players before I start about what they want and when they ask for something that I don’t think is achievable I let them know my limitations as a builder. Almost always when it’s explained about how a guitar makes sound and what control you have over that sound they begin to see their requests in a realistic context.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Stuart: I’m with Torres on this. Only the top really matters and I buy them for sound, not looks. For flamenco back and sides I really like Yew (Taxus Bacccata). It’s about the same weight as walnut but because it’s so stiff it helps in the projection of the sound.

CGB: What would you say to up and coming builders who are just starting out?

Stuart: Go for it, but don’t expect to get rich.

CGB: In your opinion who is the most influential Luthier?

Stuart: Joseph Pages of Cadiz who was experimenting with fan bracing half a century before Torres.

Stuart Mewburn guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com currently has one of Stuart’s guitars to help our customers decide if they would like to purchase one. If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.

Tim Reede is one of those builders who pays close attention to the overall aesthetics of the guitar, as well as what’s under the hood.

Equally comfortable building Classicals to Flattops, to Archtops to Electrics, this Midwestern builder delivers nothing but high end boutique guitars. Tim got in the hot seat to answer our 10 luthier questions.

CGB: Let’s start from the beginning how did you generate interest in the guitar?

Tim: It’s hard to remember when I first became interested in the guitar because as long as I can remember guitar music has been present. As a child in the sixties I remember hearing guitar music that opened a whole new dimension of expression. Bands like Jefferson Airplane and Jimi Hendrix and Crosby Stills Nash and Young were amazing. Mason Williams doing Classical Gas or Santana, it was impossible for anyone not to be moved by this music. The more I listened, the more I was interested. And my fascination continues today. I am finding new and old guitar music that I have never heard that turns me on by being technical or just having a super sweet tone. I think the sound of vibrating strings is more musical than other kinds of instruments. It is more expressive, more human. This includes piano, violin, harp and mandolin but especially the guitar. The guitar has so many different ways of speaking, many different voices, if you will, that it never gets tiresome.

CGB: What inspired you to become a luthier?

Tim: Well, I got into woodworking because I liked to make stuff, and because I had no furniture. I worked as a cabinetmaker for ten years. One day I decided to buy myself a good acoustic guitar. I always owned an acoustic guitar but they were cheap ones, I was more of an electric player. So I bought a Martin HD28. The difference between this guitar and the cheap guitars was night and day. It was fun to play. I started thinking about how it worked and I thought I want to make a guitar. There was a school that taught guitar making about an hour from were I lived. So I quit my job and I went to luthier school in Red Wing Minnesota.

CGB: When did you finally realize you could earn a living building guitars?

Tim: I haven’t learned that yet. Seriously, I do have a day job. I still do woodworking by day. But my company is young and developing, I have been doing this for five years now, and I do see myself doing lutherie full time in the future. Marketing is important, and I think that it takes some time to develop name brand recognition. The truth is that things are tough, I mean that I think that being a professional guitar maker is chosen because of a passion for it not so much as to become rich. And right now, in this economy, it’s a squeeze for everyone, including the really big guys.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Tim: Customer service! My guitars have changed but I have always done the best that I can for my customers. It is just that important. A dissatisfied customer can damage a business more than anything. If someone is not pleased with one of my guitars, I will do all that I can to remedy that situation including making another guitar for them, or giving their money back. I haven’t had to do that though.

CGB: What is your luthier or guitar building horror story?

Tim: I had just completed the construction of a really nice acoustic guitar for a client and I was very pleased with it. It was “in the white” meaning still bare wood. I was going to begin the finishing process. I had the guitar hanging from a wire from the ceiling, and I sprayed the first coat of lacquer on it, and the weight from the lacquer caused it to be to heavy for the wire and it fell. I caught it just as it hit the concrete, but the back had exploded. I did end up saving the guitar but I had to learn how to replace a back.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Tim: Being what I consider a fledgling company, I have a different experience than others may have. Things are growing and getting better for me every year, I am passing milestones, and getting more recognition from other luthiers and the public. The recession has had an impact on sales but it is only temporary and I expect to emerge in good shape.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?

Tim: I think what you are asking about is if someone wants a guitar that you do not make. For me, I do make many different guitars. I make archtop and flat top and electric guitars and basses and I have done classical. So I am not opposed to doing something like a nylon string with a steel string neck or a baritone acoustic or a double neck electric with a MIDI controller or even an archtop harp guitar. If someone wants something that I don’t usually make I will be up front with them because it will take longer to make. Research may have to be done and new forms may have to be made for the construction. If it is something that I don’t want to do I would recommend someone that I know that would do what they want. It is the customers decision who they want to have make their guitar, It is my decision whether I want to make it or not. But if someone want to play bluegrass on an electric guitar, who am I to tell them they can’t do that. It’s their ears and their creativity. They are the artists. The guitar doesn’t have to be bound by tradition. Maybe they are inventing something new. If someone is looking for something very traditional, I can do that too.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Tim: I like adirondack spruce sound boards for acoustic guitars. They do cost about twice as much but they are worth it. They have great overtones and nice clarity when played softly and they have lots of headroom when played loud. African black wood is a great wood to use for an acoustic bridge because it looks like ebony but it adds a little sparkle to the sound. I am speaking about flattop acoustics now. Rosewood sounds great but I am also liking Koa and Malaysian black wood. For electric guitars the combination of basswood with a maple drop top is really nice. The basswood is light weight and easy to carve and it has a strong midrange tone and the Maple brings out the high end.

CGB: What would you say to up and coming builders who are just starting out?

Tim: Take some classes, there is so much to learn and it will help avoid a lot of mistakes. Go to the ASIA symposium or the GAL convention. It is a great place to learn from others and start networking with peers in the business. Remember that failure is not the opposite of success, it is part of success.

CGB: In your opinion who is the most influential Luthier?

Tim: C.F. Martin. The X brace it an industry standard for 50 years. other honorable mentions, Lloyd Loar, Antonio De Torres, Leo Fender, Les Paul

Tim Reede guitars may be purchased via: customguitarboutique.com Come pay us a visit.