Once I received an email from a friend of his new idea for a top bracing pattern with the question, “Do you think that this design will make a good sounding guitar?” It was actually a creative idea and it certainly didn't fail to peak my curiosity, but it was the question itself that stuck with me and deserves an honest
Tom Torrisi, owner of guitar no. 15, recently commissioned and performed a peice for electronics and guitar from Authur Keegan-Bole, a composer of new music based in Bristol, UK. Here is the recording available on YouTube.
Tom is currently working towards a D.M.A at Eastman School of Music in Rochester, NY.
Nocturne by Author Keegan-Bole
One week ago Brent Webster came by the shop with guitar no. 5 for some routine touch ups to the guitar's polish. One of the best decisions I've made since being in the business of building people guitars is to offer free French polishing on the first 30 guitars.
Keep up with the progress on this instrument here.
Special thanks to Richard Clark at Winell Lee for dropping the ball on this beautiful piece of curly maple yesterday. The entire board is covered with a dense curly figure that is slightly eclipsed by a streak of spalting that runs straight up the center of one side.
You can collect all the data possible, use every objective resource at your disposal and create every millimeter of your instrument with machinist precision, but the end product will always be a result of your judgement.
Every time we set out to do something great we can only set our standards as high as our imagination and experience can conceive.
The art we make and the work we do will never be “perfect” because perfection is a standard that is always in a state of flux. It changes as we learn and grow.
So the hardest work is done in your imagination.
Every guitarist will only play as well as she can imagine herself playing and all luthiers will be forever limited to creating the instrument they are imagining.