Linda Manzer and Pat Metheny’s collaboration on the Pikasso guitar proves that a good creative chemistry between luthier and client can lead to extreme innovation!
From my end, I try to find out why a client has come to me for a guitar. Was it one of my instruments they heard in a recording, at a concert, or one they had the chance to play? I need to learn what they’re looking for. Are they firm on a size, the materials to be used, a particular feel and tone? Can they reference qualities of other recognizable instruments? What guitar do they currently play and what do they like about it, and what don’t they like? Inlays? A zillion strings? Or do they just like the idea of letting the luthier do their own thing? The list grows....
Of the over 500 guitars I have built, pretty much every customer has had a slightly different vision. My job has been to bring that to life, which is why it’s important for clients to communicate their wishes as clearly as possible. Describing how something sounds or feels can get tricky. I once had two clients in the same week use the word “syrupy” to describe sound. What does that word mean to you? For one it was good, for the other it was bad. A word meant completely different things to each of us, so in each case, we had to establish a common language.
“When Pat Metheny asked me to make him a guitar with ‘as many strings as possible’ I had no idea what that might be, but I immediately said ‘yes!’ because I knew he trusted me, so I ran with it.”
By going through my questions, I’ll get an idea about a player and form a profile in my mind. I’m gathering details—preferred body materials, neck, fingerboard, nut widths, string spacing—which will end up in a file with a client’s name on top. For those who don’t know the exact measurements, don’t fear, we can guide you. Luthiers have tried-and-true models we build as a reference, and a custom guitar is often a simple variation of these standards.
Most luthiers give clients the option to select woods from their stock, and I strongly advise letting your builder make the final selection because they know their materials and their history. Each builder has a unique alchemy around which wood combinations work best, so listen—and learn, too. Should you insist on a wood species that the builder has not combined before, he or she may have reservations and need to explore before moving forward. If I’m the builder, and if no immediate alarm bells ring, I try to keep an open mind and will do the research to either proceed or hit the brakes.
After the structural and material details are locked in, decorative options like pearl inlays, marquetry, painting, and finish colors come next. You will have to trust your maker in this department, because artwork takes on a life of its own. If you’ve seen examples of the builder’s work, you know what to expect, and you may have some ideas of your own which the luthier can flesh out later.
Some luthiers will be willing to act as a “jill or jack of all trades” while others will not, so communication is a key part of any custom guitar order.
Photo by David Wren
Luthiers are generally a polite bunch, and our goal is to make our clients happy, but sometimes we are asked to do things that are outside of our wheelhouse. One example is a client asking a luthier renowned for their archtops to build a harp guitar. One luthier might totally embrace this, while another might not. When I started making guitars, I had to be a “jill of all trades”—see what I did there?—and would build whatever I was asked to, just to keep a roof over my head. This often meant stepping far outside my comfort zone. When Pat Metheny asked me to make him a guitar with “as many strings as possible,” I had no idea what that might be, but I immediately said “yes!” because I knew he trusted me, so I ran with it. The result was the Pikasso guitar, and I am forever grateful for his faith in me and that I grabbed the opportunity to expand my knowledge.
Many folks ordering a handmade instrument are like expectant parents, wanting updates and photos at every stage. We understand your enthusiasm, but please remember that most of us work solo and we literally and figuratively have our hands full, so we can try, but please be patient. And don’t be concerned by our silence, it just means the dust is flying and magic is at work.
The way I look at it, this is your guitar and not mine. My hands are building it, but you will be the one playing it. My job is to deliver you a guitar that will inspire you to create for years to come. We instrument makers are honored that you have entrusted us with the task of making you a guitar. There is nothing we’d rather be doing and we’re deeply grateful for that trust. Enjoy the journey!
Students in lutherie school can build a variety of instruments depending on the program. Here we see a budding luthier rough carving the back of an archtop guitar in preparation for running and vicing.
Our training options eventually segued into ground-up builds of both electric and acoustic guitars, and grew from a single-month session to two-month and six-month training programs. To date, we offer enrichment classes, extra-curricular seminars, and expanded graduate classes that, in total, can run up to a year in length. Like all trade schools, our classes constantly shift and change with the times, and, in many cases, our research has developed technology and techniques that keep our school relevant and up to date.
Surround a person with like-minded people and inspiring topics, and they will blossom.
So, what does it mean to be enrolled in a program such as mine and how does it prepare you for the guitar industry? Let’s start with the name of my six-month Masters Program. This title, by no stretch of the imagination, means you will be a master luthier after six months of training. The name came from a questionnaire I sent to many top luthiers asking what topics a student should be able to cover and what skills they would want to see from a potential employee. Then, I took that information, kicked it up a few notches, developed a reasonable curriculum, and founded the Master Class.
What would a day in the life of a fledgling luthier look like once enrolled in our program? First, the name of the game with any trade school is safety, safety, and safety. We are dealing with jointers, band saws, and routers—all of which could certainly cause harm if not monitored appropriately. Then there are the solvents, finishes, and exotic woods that could all be irritants (or worse) if the proper precautions are not taken into consideration.
After safety is covered, students can fully consider what classes they want to take and what their personal lutherie goals are. For those who already have a job in the industry, they could choose the longer sessions. However, for many students the much shorter à la carte session—which can be taken over time–—is the way to go. Retirees looking for a second career generally opt for the longer sessions, grinding through the program and getting back to work.
To stay current, trade schools constantly adjust their programs so students are up to speed with current trends. Nylon-string crossover guitars have become very popular in recent years, so we added it to the program to round out the flattop guitar program.
And, as with all trade schools, vocational rehabilitation is always part of the picture. We collaborate with many departments nationwide, retraining people for a career in lutherie. Additionally, we work with the U.S. military to offer our knowledge and education to disabled veterans, or those taking advantage of the post-9/11 G.I. Bill. This has become a popular way for veterans to jumpstart a career in lutherie.
It’s the younger students who need to put a little more thought into how they are going to make the most of their training dollars. There are many who have already gone the university path and now want to focus on something they feel more passionate about. Many of these students end up going back to school, focusing on business-related classes once they see a clearer path for their future. I also see students arrive here fresh out of high school that are right-brain thinkers. If you plug these students into the wrong environment, they may never flourish. I have seen this time and time again. But surround a person with like-minded people and inspiring topics, and they will blossom.
For me, after four decades of operating a trade school and watching students maneuver their way through the world of lutherie, I have come to understand that my student body can take many forms. However, the bottom line is this: Choosing the correct training program is key for success, and there’s no one training class that’s right for all. Each student has to figure out their own goals, and then my school will provide the path to achieving it.