So you want to be a luthier?
Firstly. I understand the romantic appeal of wanting to be an artisan producing musical instruments, working with wood etc.
So you want to be a luthier? One of the first things that I think you should do is some maths. Have a look on luthier supply websites and price up the materials for an instrument. Then have a look at the prices that luthiers charge, sure there are some UK makers like Sobell or Fischer who can command high prices, but most (like me!) charge modest amounts. If you’re lucky, you might be able to make (and more importantly sell!) around 10 to 15 instruments per year: factor in tax, workshop overheads etc and that should put you off of the idea! You’re not going to get rich being a luthier! That’s the tough love bit!
My advice is to try to make one at home, by yourself to see whether or not you catch the bug. You’ll need some specialist tools such as a bending iron and router, but these can often be picked up on eBay; use them and if guitar making is not for you sell them on to the next would-be. There are loads of good books and many web-sites showing how to build a guitar so there’s no shortage of information available.
Having made your first instrument you can either continue making by yourself selling to friends, fools and family until you’re confident that your product is as good as anything available.
Trying to price your work is difficult; you cannot say my plumber charges £50 per hour, a guitar takes 100 hours to build therefore I want at least five grand! The price will be a complex combination of your reputation, quality of work and most importantly, what the market will bear.
Alternatively, you could try to get work in one of the few small factories that are about, although I imagine the competition is tough or go to a luthier school and train properly. Even once you have been down this route there is no guarantee that you will make a living.
There isn’t an easy route into guitar making and it takes years to build up a range of skills and a good reputation. I was lucky enough to go the London College of Furniture and train there for three years, at the same time as doing repair work for a local guitar shop. Repairs are a great way to learn about guitars. Those are my thoughts for what they are worth, good luck to you.
So what’s happening in my ‘shop. Well the two Blackwood instrument are coming along; I love this photo! Maybe I should make Russian dolls!
And the Red Mandolin is being French polished. The more I polish the more I like it; I’ve said it before and I’ll say it again, the shellac really brings the wood to life. There is such variation in the grain of the Brazilian rosewood, on the mandolin’s back, that wasn’t apparent until the polish started going on; the shellac must have some optical properties that I’m unaware of.
Link to info about Sir John Soane’s Museum.
Although my workshop is small and I try not to have too many things going on at the same time, once the mandolin has had a good hour or so being polished and I’m waiting for glue to dry on the Blackwood instruments.....
...something else needs to be done and so I’ve started Jill’s mandolin.
Jill's Mandolin Part 1
I know that Jill is a follower of my blog and has shown great interest in my work: therefore it only seems fair that I feature the construction of her mandolin in some detail.
One of the first things that I have done is make up the head overlay. This is a small component, so it can be made and put safely aside until needed. A piece of abalone is glued to thin plywood; the abalone is brittle and the ply stops it from snapping whilst being shaped. I no longer try to make each N logo identical; I like the idea that each one will be subtly different just like a hand-written signature.
The N will be inlaid into some beautiful burr Claro Walnut that I have.
Some careful marking out...
The finished overlay At this stage I’ve also glued up the two book-matched pieces of quilted maple for the back. The joint between the two pieces has to be perfect and I always use my jack plane with a shooting board. The idea of the shooting board is that the plane can lie on its side and not wobble; this ensures that the edge of the wood is in the same plane along its length.
I then use sash clamps to apply pressure to the joint whilst the glue dries. There are other methods of clamping, using string and wedges, but I find that clamps allow me to adjust the pressure more accurately.
And of course the soundboard is put together in exactly the same way.
These two pieces will also be laid aside for awhile.