I go to classical guitar festivals around the UK and Europe; not only to show my work as a classical guitar maker, but to connect with guitarists, see what kind of music they’re playing, what instruments are ‘in’, what problems guitarists have that I can try to solve etc. I come away feeling inspired, enriched and with a greater sense of purpose. I’ve just returned from the International Guitar Festival in Brno, Czech Republic, as well as West Dean Classical Guitar Festival, Chichester, UK.
Sometimes at these events I am asked questions that I can’t quite give a satisfactory answer to at that moment. And I end up thinking about these questions for a week or so afterwards, until I finally figure out the real answer. The two questions below are really good and really important questions, asked to me by a talented guitarist Stella, and I will do my best to answer them fully here.
When I try out guitars, lots of them sound good - the more I try, the more confused I feel about which I should choose! Do you have any thoughts on this?
What is different about your guitars?
Question 1
When I try out guitars, lots of them sound good - the more I try, the more confused I feel about which I should choose! Do you have any thoughts on this?
The Task:
To find the right guitar sound for you!
The problem:
Part of the problem for both guitarist and luthier, is that we get used to the type of sound of guitar that we hear most. And consequently we judge the sound of other guitars are judged from that reference point. It confuses things that everybody’s reference point is different, and shifts from day to day.
Another part of the problem is that there are a great many good types of guitar sounds. It is difficult to firstly discern what those all are, and what sounds are most suitable for different situations/settings/playing styles.
The different types of guitars include traditionally built guitars, double top guitars, lattice braced guitars, new innovations - all of these styles include an infinite number of possible bracing patterns and wood combinations, and all produce different sounds while still being classical guitars. Different playing situations might include playing at home, playing in a guitar society, in an ensemble, a church, a concert hall. Finally there are different types of players, some playing very delicately, others very hard.
“Building up one’s sense of what a good guitar sounds like, is like filling up a sieve. It takes a constant stream of listening to, and playing, many different guitars- in many different settings, types of music and with different players. It is then easy to lose that sense, or go off track, or get used to one specific type of guitar. And once one stops training their ear, the sense will gradually go away.”
I have a theory: that building up one’s sense of what a good guitar sounds like, is like filling up a sieve. It takes a constant stream of listening to, and playing, many different guitars - in many different settings, types of music and with different players. It is then easy to lose that sense, or go off track, or get used to one specific type of guitar. And once one stops training their ear, the sense will gradually go away.
It is worth bearing in mind that the perfect guitar sound is really different for each player. What I mean is , say you heard John Williams playing his perfect guitar, sounding brilliant; if you then gave that guitar to Pavel Steidl, that guitar might sound bad, because the players are different.
It is worth seeking out the perfect match for yourself - I have actually seen it only rarely, but when it occurs, both player and instrument are elevated! I’ve witnessed this most strongly, in my opinion, when watching the player Goncalo Maia Caetano. I’ve also seen many excellent players where I’ve thought they would sound even better, if only they were playing an instrument more suited to them or the environment.
Ideas for finding a solution
Some guitarists know exactly what they want, or at least know it when they play it.
Some embark on a quest, to find ‘the sound’, hone their ear so they know what a good guitar sounds like to them, define what their priorities are in the sound of a guitar, and/or seek advice from people further along on the same journey. (I will definitely include advice for those guitarists, to whom ‘the quest’ sounds daunting!)
As there exist many good types of guitar sounds, it is important to outline your priorities. What are you using the guitar for? In what areas is your existing guitar lacking for your unique purposes/playing style? Do you need a loud guitar for your guitar and double bass duo? Do you need a wide range of tone colours that inspires you when composing? Do you feel your guitar is making you work too hard? Are you playing just for yourself, or do you need some power/projection, to play to an audience?
Two guitarists impressed me recently with how they tested a guitar. They knew what they wanted in a guitar - they wanted a guitar primarily for competing in guitar competitions throughout Europe. They did want volume and projection, particularly in the trebles, and less ‘effort’ in the treble notes, and wanted particularly for the treble notes not to be overpowered by the basses. They tested the guitar in a concert hall - their required environment - and one played while the other listened, and then they switched. They knew their priorities.
Many guitarists - the majority of guitarists - don’t know what they want in a guitar - and that’s OK too! It’s normal. To this group, it may be helpful to at least outline what they don’t want in a guitar - perhaps poor playability, wolf notes, muddiness of tone. Those are a bit obvious and apply to everyone, but one could narrow things down more - for example, on my list of things I wouldn’t want if I were buying a guitar: too much bass. That’s more personal, my own taste.
It can be wise to put one’s trust in someone else and follow a recommendation when searching for a guitar - if that person you ask is chosen carefully. Some guitarists are liable to have their ear well honed in on the different types of guitar sounds, such as professors at conservatoires, who will be playing and listening to different guitars all day, in a variety of good acoustic settings, from small rooms to concert halls. If you are a conservatoire student or know a professor, these might be very good people to consult about what guitar sound is best for you, particularly if they know your playing style well.
If a guitar maker has earned your trust, you can put your trust in them to build you a good guitar, which I will get onto following the next section.
Theoretically, a classical guitar dealer will also have a good idea of all the different types of guitar sounds. The only caveat here is that they would likely only hear guitars in the setting of their dealership, and are of course to some degree motivated to sell you a guitar, and their stock may reflect their own preferences.
When testing classical guitars, it is always necessary to remain completely objective, free of all biases. Due to the first problem I mentioned - that we use the sound we’re used to as our frame of reference - different people have different frames of reference, and even our own is constantly shifting. So, it’s worth keeping that in mind when forming opinions and listening to other people’s advice - it is tricky.
Some advice:
Train your ear by playing and hearing many guitars.
Define your priorities (or at least your deal-breakers).
Test guitars in the environment where you’ll actually use them.
Ask trusted ears (professors, fellow guitarists, makers), to help inform your decision - bring a trusted ear along.
The role of the guitar maker
The people who have thought about the sound of the classical guitar more than any others, and as a job requirement, should understand the whole range of classical guitar sounds, are classical guitar makers. It is a difficult task for guitar makers too, to define what a good classical guitar sound is, and it takes constant effort to maintain and refine the idea of ‘the sound’ in one’s head.
I particularly grappled with this throughout my twenties, trying to first understand the range of guitar sounds out there, and then pick what path I wanted to go down myself.
One of the most difficult problems for guitar makers is to stay ruthlessly ‘objective’. I think it is quite easy for guitar makers to blindly love the sound of a guitar they have made. Ways to stay objective include finding lots of very good, trustworthy players who will tell the guitar maker the strengths and weaknesses in their work. Such people are extremely valuable and do a great service for the classical guitar!
Another way I have found to keep my ear in check, is to constantly attend guitar concerts. Due to where I’m based in the middle on London, some months there are 3 recitals a week within walking distance of the workshop, giving me the chance not only to hear a variety of guitars, but here what guitarists are playing, their techniques, and in different settings too - churches, concert halls, smaller rooms. And not only guitar concerts, but of other instruments too - the organ, string quartet, piano, to hear the acoustics in the halls, the balance and tone of other instruments help to put the guitar sound in context.
From speaking to many many players, it is clear how many different types of guitar players there are. It sounds obvious, but everybody is unique. It has helped me greatly to really try to get to know players - not to be building in isolation - to understand the context in which I’m building guitars.
I think if a guitar maker is diligently doing these things, they can be the most trusted consultants of all on the sound of the classical guitar. Speaking for myself, it is a problem I am focused on from when I wake up to when I go to sleep.
The most important thing I try to maintain is a complete, objective and non biased overview of the classical guitar sound. So my ear isn’t too accustomed or biased to one sound.
Question 2
What is different about your guitars? What makes your guitars special?
This is a question I am proud to answer. I have worked hard to make my guitars unique and different, but they are also steeped in tradition.
I describe the sound of my guitars as part of the English school of guitar making, which really began in the 1960s with the luthier David Rubio, and continued with Paul Fischer. David Rubio developed the ‘nodal bar’, a bracing innovation for stronger treble notes. Building on Rubio’s work, Paul developed a bracing pattern that really projected well and was widely used by concert guitarists. When I began making seriously, Paul Fischer released his book Let the Wood Speak, which had a great influence on me.
I think an instrument balanced specifically with the bass not overpowering the trebles, with strong full bodied trebles, good projection, and a rich tone defines my guitars and classical guitars in this tradition. The are very musical instruments, they are quite light and feel alive as you play - you can feel them vibrate as you play.
To continue on the English theme, my rosette is inspired by an old lost English craft called Tunbridge ware. Tunbridge ware was a 19th century craft which incorporated stunningly intricate and beautiful mosaic marquetry. The craft flourished in the town of Tunbridge Wells - some makers such as Thomas Barton, Henry Hollamby, Edmund Nye, were extraordinarily talented in both the craft, artistic and business side of things and are great inspirations to me.
I continuously refine the various hundreds of components on my guitars, by constantly talking and getting feedback from players. There’s a guitar making scene in England - it’s different from in Europe - perhaps encouraging more individuality and less focused on competitions than in Europe. My guitars are shaped by the guitarists in this unique environment. They are my unique offering to the classical guitar world, shaped by the players of today, founded upon years of English guitar making tradition.
It is an exciting time for Edgeworth guitars, because having taken a long time to refine this design, I now have a new workshop, new equipment, and am now embarking on building a lot more of them.