This Tasmania-based guitar builder offers up a variety of handcrafted gems from Down Under.
BR Fretless RB IV
Rizzolo has offerings for the low-enders too, and this 34"-scale fretless beauty is a fine example of what he can do with four strings. Carved from a walnut and blackwood combo, the body is topped with highly figured Tasmanian fiddleback blackwood. The neck is constructed from the same walnut and blackwood combo and capped with an ebony fretboard that is subtly adorned with mother-of-pearl inlay work. For electronics, this thumper is packed with a pair of Kent Armstrong soapbars, as well as a Graph Tech Ghost piezo system in the Hipshot bridge.
For some, hearing mention of the Australian island state of Tasmania evokes thoughts of the home of a particular Looney Tunes character—not necessarily a place to find a guitar builder producing a wide range of high-end instruments. But Tasmania does offer just that. For more than 30 years, luthier Gary Rizzolo has been handcrafting instruments out of his shop for players around the globe.
Rizzolo remembers the exact day he fell in love with the guitar. He was just 10 when his uncle showed up on his regular Sunday visit to Rizzolo’s family, but on this particular day, his uncle had an “amazing looking, shiny greenish archtop” in tow. Rizzolo was hooked.
Rizzolo is essentially a self-taught luthier. While he didn’t attend a formal lutherie school, his education—coupled with a love for music and guitar—led him down the path to what he so passionately does today. It started with his 3-year diploma of teaching studies that included crafts training where he honed his woodworking and metalworking skills building furniture, cabinets, wood lathes, dowelling tables, and, yes, a guitar.
He later went on to pursue a fine arts degree in design at the Tasmanian School of Art to learn line and form. During his time there, he began amassing books on guitar building and ran a guitar-repair business that he feels helped him immensely in understanding “what worked, what was good, and what wasn’t.”
Unlike many in the boutique-luthier category, Rizzolo builds quite a wide range of instruments, from flattops to archtops to electric guitars and basses. “Once a builder masters the fretted instrument, it’s just a matter of re-jigging to build any other type of guitar,” says Rizzolo. He became known early in his career for 7-string classical guitars that eventually developed into his 7-string archtop, and then electrics that are close to his heart because of his days in a rock band. But he contends he’s still most passionate about acoustic instruments. With that, “Because I build guitars on commission, I make whatever the customer requires.”
Rizzolo likes working with highly figured varieties of timber, in particular rosewoods and maples. Local Tasmanian blackwood remains his favorite, even though its dust has been declared a carcinogen, but the luthier says he’s more than willing to mask up and work with it. “It looks a lot like koa and has a sound like mahogany with a bit more midrange. It has a wonderful fiddleback grain, but it is getting harder to find and more expensive as global demand increases.”
“I work alone and quite like the ‘one-man, one-guitar’ ideal,” says Rizzolo. “I work on an instrument from the initial full-size drawings to the final polish and then into the case to maintain the highest quality control.” Along with attention towards fine fretwork and shaping of the necks for superb playability, “extracting a full-rounded sound of bass and treble with a rich tone from thin pieces of solid timber is the art I enjoy the most in guitar making.”
Pricing and Availability
Rizzolo’s shop is located in the Tasmanian capital city of Hobart where he builds approximately seven instruments year entirely by hand. “I am slow and methodical,” says the luthier. His turnaround time is six months or less. He for the most part only builds on commission (which means all sales are direct), but he continues to experiment with models like his recent leaf-hole ukulele with Kasha bracing. Rizzolo’s guitars range in price from approximately $3,750 to $6,500 for his electric guitars and basses, and $5,600 to $11,200 for acoustics and archtops.
For more information, visit rizzologuitars.com
This French luthier's breathtaking designs embrace old-world construction techniques while flouting tradition with classic automobile aesthetics and surprising tonal versatility.
Cajun Country
Definitely not your grandpa’s resonator, the electric Cajun Country model brings modern elegance to an old-timey instrument. The version shown here features a swamp-ash body and a maple neck topped with a stainless steel fretboard. It’s outfitted with dual inputs and features both a Highlander under-saddle piezo pickup and a custom Benedetti single-coil paired with an OxyDrive internal overdrive circuit made by Gamin'3.
Luthier Jean-Yves Alquier’s interest in building guitars was sparked the moment he first held an instrument more than 20 years ago. He didn’t just want to play it—he had to know how it worked. Today, that same curiosity—and a passion for woodworking, drawing, and sculpture—continue to drive Alquier to create a variety of stunning instruments from his workshop in Le Soler, France.
Although Alquier’s background in guitar playing and listening to all types of music—from Bach to Zappa, B.B. King, and John Scofield—is hugely influential on his work, he’s equally inspired by automobile design. In fact, he says cars were the most creative design medium of the 20th century. And he aims to emulate that vibe with his guitars.
Alquier’s artistic skills were mostly self-taught for a number of years, but then in 1995 he set out to travel the world for a year, meeting instrument makers and soaking up live music in Australia, North Africa, Eastern Europe, Vietnam, Malaysia, Thailand, Laos, Cambodia, and Sumatra. With a guitar on his shoulder, he visited numerous Canadian and American luthiers, too, but he says the most valuable meetings were in Asia, where he witnessed traditional instruments being built without complicated tools—including craftspeople using their feet instead of vises! These builders both fascinated him and, in his words, helped “open his mind.” In 1998, Alquier built a classical concert guitar under the supervision of master builder Thierry Jacquet in Montpelier, France, to make sure he was ready and able to be a luthier.
But the cutting-edge designs Alquier is known for today yield little evidence of his initial training in the strict, traditional classical community. And though Alquier continues to build classical instruments (as with his Juliette model named after his daughter), he says he doesn’t want to be “imprisoned in any style.” Even so, he contends that the conservative aspects of classical-guitar luthierie teach technique and rigor. “I think luthiers must know how to build a classical concert guitar in order to really understand guitars.”
Despite his organic introduction to instrument building and the fact that all his instruments are currently handmade, Alquier has no qualms about computer-aided guitar construction, either. In fact, he says that acquiring a CNC (computer numerical control) machine is one of his next steps. “Not having a CNC is a handicap,” he states. “A luthier must not waste time on simple, necessary operations—but he still must not fall 100 percent into the machine-made category and lose the magic of handworking.”
Asked about the “magic” of his own designs and what he thinks sets them apart, Alquier says his main goal is “to simply do the best I can do and in the most sincere way.” He then quotes French composer Erik Satie, who said, “I’ve never written a note that was not sincere,” adding, “I feel the same way about guitar building.”
Pricing and Availability
Alquier builds approximately 20 guitars a year, but he is integrating his friend and fellow builder Marc Senn into the operation to specialize in basses. Alquier’s guitars are currently only available direct. Most orders are custom, and the wait time is approximately six months. Standard models are typically finished in about three months. His instruments range from $3,800 to $12,000.
This luthier duo from Finland draws inspiration from their homeland and offers a wide range of instruments with both a “classic” and “extreme” line.
Halla
The solidbody Halla model is part of Amfisound’s classic line of guitars and this particular example that’s finished in a high-gloss red has an alder body with a flamed maple top, and a bolt-on maple neck that’s dressed with a rosewood fretboard. Hardware appointments include Hipshot locking tuners, a Bigsby and TonePros Nashville-style bridge, and Amfisound non-slip potentiometer knobs. For electronics, this regal-looking axe has a pair of TV Jones Classics.
Finnish luthiers Tomi Korkalainen and Sampo Leppävuori met in 1997 at the Ikaalinen College of Crafts and Design where they were both students in the guitar-making department. And though they came from different parts of the country—along with completely different personalities and tastes in music—they quickly found they had a lot in common and became close friends. One of those commonalities was a huge respect and love for nature and the “North.” Another was a shared belief that music is more than just sound—there’s something deeply emotional and personal about it. “These are things that we have always applied to our guitar building,” says Korkalainen.
After finishing their initial studies in 2001, the two founded Amfisound Guitars in 2002 and decided to base their shop in Oulu, in Northern Finland, “because our Northern roots and attitude are very important for us. A lot of things about Finland are pretty extreme: the climate, the nature, the history, the people, the music, etc. But there is also a deep sense of tradition and that deep love for nature. Our guitars often impart these feelings,” shares Korkalainen. “In fact, the name for each of our models refers to something Finnish or Northern that is deeply meaningful to us.”
Korkalainen and Leppävuori choose not to use CNC technology their for bodies or necks. “We build our guitars in a traditional way by using old-school machines that are operated by hand, because it gives us endless possibilities for shaping the wood. Almost all of our machines are from the ’70s—older than we are,” says Korkalainen. “People often ask if our guitars are available in a left-handed version, and questions like this seem funny to us because it just shows that mass-production companies are much more limited when it comes to doing things even a little bit differently. Since we do everything by hand, there are no limits to our building.”
—Tomi Korkalainen
The luthiers essentially have two lines—“extreme” and “classic.” Korkalainen says that the company’s reputation as a primarily heavy metal guitar outfit is somewhat misleading since the pair has always made classic-style guitars as well. “I have always had a big heart for the beauty of the classic guitars, and the reason for my conservative soul is probably because I have always respected the traditional violin and cello makers.”
For the most part, however, Koralainen is focused on designing the company’s extreme and metal guitars and taking care of special paint work, while Leppävuori’s main focus is on their bass guitars and classic line. “It rarely happens that one man builds one guitar alone though,” says Korkalainen. “Most of our guitars have various custom features, so the contribution or the specialized skills of the other builder is often needed. That way, we manage to optimize our potential and our time, and share our individual skills and abilities.”
The pair says their biggest inspiration comes from their musician customers and the “crazy and cool ideas” they come up with. “From them, we also learn what they want for their music, what sort of improvements are needed to keep up with the music styles or developments in music technology, and what works on instruments and what doesn’t. For all these things, we find it really important to keep in close contact with our customers and to provide a warm and welcoming family atmosphere,” says Korkalainen. “It gives more personal meaning to the work we do and a more rewarding feeling. Listening to our customers and understanding what they want is really, really important. In my personal opinion, this is the only way to build a truly custom guitar.
Pricing and Availability
The two-man shop builds about 40 custom guitars a year. Emailing, calling, or visiting the shop is the best way to get the process started since Amfisound deals direct for the most part. Approximate build time once an order is placed can be as little as three months for a bolt-on basic model, and up to 12 months or more for more involved, unique custom instruments. Depending on the build, pricing ranges from approximately $2,800 to $9,800 (including EU VAT). And for customers outside the European Union, pricing ranges from approximately $2,265 to $7,900.
amfisound.fi