Acoustic Guitar Construction

Dream Guitars posted an article yesterday that proclaims our time as a "Golden Age" of guitar making.

http://blog.dreamguitars.com/dream-guit ... -lutherie/

The main point is that the free exchange of information that formerly was kept private is largely responsible for the improvements in luthier built instruments today, a point well taken as far as I can tell. This same exchange is also responsible, one might presume, for the improvements in the prices certain luthiers get for their instruments. (They have one by Jason Kostal, a young former apprentice to Ervin Somogyi who appears in the recent Somogyi DVD as Ervin's assistant, priced at $22k.) They quote Somogyi as saying the first 50 are just gluing wood together, which I don't see as especially consistent with the idea of this large sharing of information - Somogyi himself has provided great insight into his methods and theories with his web site and books. I think the collective building community is getting further, and faster getting there, than ever before, thanks to what we share.

But I am struck by the dark side of this expansion of our craft, which is what to do with all the production of first class instruments that goes on now. And so the article gives birth to the undefinable term "White Magic" as the characteristic that distinguishes the luthier made gits worthy of the new pricing, from those that are merely as good as the new inexpensive guitars flying off the racks at Guitar Center.

It is not that I think all guitars sound the same. Rather, applying the term "White Magic" seems anathema to what is actually real. It is cloaked in vagueness that protects it from any realistic scrutiny or common understanding. About all I can say for "White Magic" is that it is at least politically incorrect. But political incorrectness has become so popular lately that even that isn't much of a distinction. I do admit that pricey boutiques must come up with something to explain their new pricing structures. I sense there is something of a "guitar glut" that has developed which, in accord with the so-called law of supply and demand, has put really fine instruments within reach of ordinary budgets, which does not serve the interests of high end marketing. So now we are seeing the introduction of "gate keepers" who appoint themselves to the role of separating the wheat from the chaff with terms that defy all experience - except theirs. I really would like to be alive 100 years from now to see how all this settles out. Heck, I'd just like to be alive then, period.

Well said, John.
Let's meet for coffee in 100 years!!

The mere fact that the early European musical instrument makers and repair persons had to "guild -up" (unionize) to create separation from the masses is a testament to the relative ease at which required skills could be and were are obtained. Its no different here now in the USA (or the world for that matter) -- while I do believe there are some who have a more natural gift than the rest -- the notion that it takes "X" number of builds or certain schooling with a certain mentor is simply preposterous. Comments like that are generally self serving no matter where they come from.

I'm not saying this to brag, not at all, but just to make a point, I sold my 5th guitar for $3600....and the person who bought it was quite happy. Was it worth that much, most likely not, but I sure put a lot of hours into it and felt my time was worth it.
The point is, the same thing I've told people who have worked for me over the years who thought they should be paid more; you are worth what someone is willing to pay you!

I'll probably never sell another guitar for that much, but hey who knows. I'm starting #11 and practically giving it away at $2300. :)
I imagine a guy could turn out a fabulous guitar with the first one, and someone might be willing to pay boo koo bucks. So the idea that you have to build 50, or 100 guitars before you get it right might be true of me, but certainly might not be true for everyone.

I hate you.

Maybe that sounded harsh. Ya think? :-)
Of course I don't hate you. I'm glad to hear of your success thus far!!

Interesting, I happened to have PBS on the TV in the shop last night and they had a story about genius and geography. It turns out that through out history the great minds all seem to come from the same places around the same time. Rome, Greece, Florence and on and on. The contributing factor to this was the openness of the society with regards to the freely sharing of information and ideas. When I saw this my first thought was that this is exactly what is happening in regards to luthery and just about all things in this age of information. It gave me a good feeling and great hope and confirmed my belief that with the passion I have for building instruments will result in my being able to build quality guitars in a much shorter period of time than it would have taken just a few short years ago. Thanks to you all on this forum and others like it we are part of a golden age. As far as pricing goes it seems to me that geography again can play an important roll. If you happen to live in an area with a fairly large population base especially if it has a thriving music scene, you will be able have more exposure and be able to sell your instruments for more money. If you live in a small town and it is not as easy to get your guitars into the hands of the right kind of buyers then I can see how even the best builders could have a harder time of it. It is one thing to build a great guitar, it is another to promote it. I have a belief that you need to spend almost as much time promoting your work as you do creating it. That is if selling your guitars for money is important to you. There are other rewards for building.
Jim.