Though known for his beautiful
steel-string flattops, Michael
Gurian began his career building
classical guitars. This
elegant 1973 Gurian sports
Brazilian rosewood back and
sides and reveals the luthier’s
classical roots. Photo courtesy
of Frank Ford and frets.com |
While looking through
guitar magazines
recently, I was blown away
by how many great luthiers
are making fantastic guitars. I
was also impressed with how
many small companies are
making guitars in Chinese
factories that have the look of
a handmade guitar from a lone
luthier’s shop.
Acoustic-guitar styling has
taken on a new look over
the past two decades. There’s
a modern look to the body
shapes, with their soft shoulders
and rounded bouts. The
tops are white as can be, and
rosettes have become more and
more artistic. Plastic bindings
have evolved into wood of
all kinds, with purfling treatments
that beautifully contrast
with the body. Exotic woods
from all over the world are
used for the sides and backs,
and fretboards are often clean
and modern looking, with few
inlays. In many ways, when it
comes to binding treatment,
rosettes, and blank fretboards,
the steel-string guitar has
taken on the aesthetics of the
classical guitar.
Good luthiers are designing
their own trade dress, using
distinctive bridge shapes and
peghead shapes. I see creativity
coming out like never before.
Even the guitars that are
inspired by traditional instruments
have a more elegant,
refined look with their tops
sitting proud in an arch that
would not have appeared
before our big World Wars.
Guitar makers are figuring
out a better design, and most
of them are heading down
a similar path—the path of
sophistication.
It’s refreshing to me—not
only the quantity of the
makers, but the quality of
their work. I’ll say our work,
because I’m among those
whose guitars display a more
sophisticated design than guitars
did five decades ago.
You can see the influence
of computerization even in
handmade guitars. Lasers and
CNC machines have allowed
inlay design to become more
advanced. Many handbuilders
buy parts from suppliers
that use CNC machines, and
some might use CAD programs
to draw their designs.
Nevertheless, the current inlay
trends reflect the influence
of technology. It’s funny to
think about, but it once was
the computerized machines’
task to copy the old handmade
designs, but now many handcrafters
are copying the aesthetics
introduced by people who
use modern techniques.
When I started, there
weren’t many people working
alone, building guitars. The
steel-string guitar companies
that existed included Martin,
Gibson, Guild, Larrivée,
Gurian, Loprinzi, Mossman,
and NBN, but some of those
are no longer with us.
When I look at the nose-dive that acoustic guitars took after about 1979—when the disco craze hit the scene—I have to think that, even though Taylor was selling a lot of guitars, the industry was not so healthy.
There was no way for a
would-be guitar maker to learn
the craft, even as recently as
the 1970s. There was but one
book explaining how to do it,
no place to buy supplies, and
you had to make your own
tools. I’ve always said that
a good way to measure the
health of an industry like guitar
making is by gauging the
tools, supplies, and know-how
that exists within the industry.
When I started, people
were buying a lot of guitars.
But they came only from factories.
There was no way for
the individual maker to enter
the market like there is today.
As more and more tools, supplies,
and knowledge spread,
people were more easily able
to get started making their
first guitar, and many of them
were incredible craftsmen.
When I look at the nosedive
that acoustic guitars took
after about 1979—when the
disco craze hit the scene—
I have to think that, even
though Taylor was selling a lot
of guitars, the industry was not
so healthy. If it were healthy,
then perhaps a new musical
genre would not have harmed
it so much. I’m not sure if I’m
right, but our current guitar-market
condition sure feels a
lot stronger to me this time.
And I can’t help but notice that
part of the reason I feel that
way is because of how many
people are involved in building
and selling their own ideas.
Sure, many of these people
you see advertising their guitars
make only 10 or 15 guitars in
a year, but I think their contribution
goes a long way when
you add it up. All together,
they add up to hundreds or
thousands of guitars. But more
than that, their designs and
ideas inspire the group as a
whole. Even if you only look
at their ads, those photos of
guitars begin to alter your perception
of what a guitar style
should be, and that causes you
to expect more from the factories
you buy guitars from.
I think we’re living in a
wonderful time to buy and
play guitar. There are so many
great choices. Vintage guitars
and vintage-styled guitars are
selling in record numbers, as
are the newest designs. It all
seems pretty healthy to me this
time around.
Bob Taylor is the cofounder and president of Taylor Guitars. He built his first guitar as a teenager and has since gone on to establish Taylor Guitars as one of the world’s premier acoustic, acoustic/electric and electric guitar manufacturers.