Podcasts about lutherie

Et en cette fin de matinée, Walid continue de transformer la Maison de la culture de Marche-en-Famenne en terrain de jeu : pendant une heure, Bénédicte et Xavier Rainotte, face à Hélène et Olivier Fraipont, vont buzzer, hésiter, tomber dans les pièges, s'en sortir par miracle, et apprendre deux-trois trucs au passage…peut-être même sans le vouloir. On s'intéresse aussi à une personnalité marchoise : Christian Bertam, coordinateur des ateliers et du stock de Music Fund, une ONG qui soutient les musiciens à travers le monde. Elle collecte et répare des instruments avec des stagiaires venus de Belgique et autres pays dans son atelier de lutherie, et donne accès à la pratique musicale dans des pays et zones en difficultés. Les stagiaires en lutherie sont accueillis dans des familles marchoises afin de renforcer l'échange interculturel. https://musicfund.eu/projets/music-fund-en-marche/ Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, vous avez écouté : Valérie Beausert-Leick, Proviseure du lycée Jean-Baptiste Vuillaume et Directrice de l'Ecole Nationale de Lutherie.Etienne Bellanger, enseignant à l'Ecole Nationale de Lutherie.Dominique Nicosia, Luthier et formateur à l'Ecole Nationale de Lutherie.Yves-Antoine Gachet, Enseignant à l'Ecole Nationale de Lutherie et luthierAstrid Raillard, apprentie en DMA Lutherie Yohan Lee, apprenti en DMA Lutherie Masséo, apprenti en CAP Lutherie Claire, apprentie en CAP Lutherie Côme, apprenti en CAP Lutherie 

'La forêt des violons' est une composition acousmatique et paysagère de Benoit Bories, réalisée pendant l'été 2020. Benoît Bories est dans les Dolomites où il suit des hommes de cette région faisant sonner une espèce endémique de sapins afin de choisir les essences qui feront leurs futurs instruments de lutherie. 'La forêt des violons' raconte des lien forts entre les hommes d'une vallée et leur environnement proche, sous le prisme de l'ouïe. Un cheminement sonore fait de la musicalité des paysages du Val di Fiemme. Parfois des voix se font entendre, incorporées dans la rythmique de la pièce. Ajoutez-y la beauté de la langue italienne et nous sommes invités à un vrai concert ! Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Max, luthier Lyonnais, nous explique comment on fabrique une guitare et nous parle des stages de fabrication de Cigarbox qu'il propose. Pour suivre Max Lutherie :Site officiel : https://www.maxlutherie.comEshop CIGARBOX : https://max-lutherie.sumupstore.comStage cigarbox : https://wecandoo.fr/atelier/lyon-maxime-cigarbox (-10% avec le CODE MADA89)Sur Facebook : https://www.facebook.com/share/15e2U72v7Q/?mibextid=LQQJ4dSur Instagram : https://www.instagram.com/max_lutherie?igsh=MmF5MWEzdTh5a2R6&utm_source=qrChaîne YouTube : https://youtube.com/@maxlutherie?si=yrkQbPf04hsRBS8M  Pour suivre Backline L'Interview : Sur Facebook : https://www.facebook.com/backlinelinterview/Sur Instagram : https://www.instagram.com/backline_l_interview/Site internet : http://backlinelinterview.fr Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

A l'occasion de la période de Noël, le village d'Orbey organise chaque année une exposition en sa salle de conseil municipal. Cette année, c'est un voyage dans le petit village de Mirecourt, au coeur des Vosges, qui vous est proposé. Berceau de la lutherie, l'exposition retrace l'histoire de ce métier hors du commun. Il sera même possible de croiser le St Nicolas avec un violon dans les mains.Christiphe Bergamini, directeur de l'office de tourisme de la Vallée de Kaysersberg détaille cette exposition.Infos pratiques : Jusqu'au 05 janvier 2025Orbey, Salle du conseil municipalGratuithttps://www.kaysersberg.com/fr/detail/711/3779/230102234/exposition-noel-a-mirecourt-orbey/Les interviews sont également à retrouver sur les plateformes Spotify, Deezer, Apple Podcasts, Podcast Addict ou encore Amazon Music.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

To find the "DIY Guitar Making" podcasts AND videos all in one place visit:www.diyguitarmaking.comFor information on the Hands-on Guitar Building Workshops and online guitar building courses visit:www.ericschaeferguitars.com

Jayne Henderson and Sarah Weinberg join us to talk about Women in Lutherie, an online community and mentorship program connecting female instrument makers from around the world.  Jayne is based in Asheville, North Carolina and is a second-generation guitarmaker. (Her father, Wayne Henderson, is a legendary builder of acoustic guitars and mandolins.) Sarah is based in Tel Aviv, where she's the only female luthier in the entire city.  Through Women in Lutherie, Sarah was able to meet Jayne and shadow her for two weeks in North Carolina, studying her build process. They attended our 2024 Fretboard Summit together and even started building a pair of ukuleles back at Jayne's shop.  On this week's show, we hear all about the fellowship, what they learned from each other over the last two weeks, what being a luthier in Tel Aviv is like, and - most importantly - how we can inspire more women to take up guitarmaking.  EJ Henderson Guitars & Ukuleles:  https://www.ejhendersonguitars.com https://www.instagram.com/ejhendersonguitars/ Sarah Weinberg:  https://www.instagram.com/what_is_sarah_doing/ Women in Lutherie:  https://www.womeninlutherie.org Subscribe to the Fretboard Journal:  http://fretboardjournal.com/subscribe Our next Fretboard Summit takes place August 21-23, 2025 at Chicago's Old Town School of Folk Music. For a limited time, you can register now with discounted early-bird pricing: https://www.oldtownschool.org/concerts/2025/08-21-2025-fretboard-summit-2025/ This week's show is sponsored by: Stringjoy Strings: https://stringjoy.com (Use the code FRETBOARD to save 10% off your first order) Mike & Mike's Guitar Bar: https://mmguitarbar.com Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout). Love the podcast and want to support it? We have a Patreon page just for Fretboard Journal fans and loaded with bonus content. https://www.patreon.com/Fretboard_Journal

In this episode of DIY Guitarmaking, I answer YOUR questions!

Noemi Schembri builds outstanding guitars out of her one-person workshop in Northern Italy.    Noemi had an interest in woodworking at a young age and went to high school and college to prepare for a career in the wood industry. For episode 91 of the podcast, Noemi tells us how she ended up forging her own path in woodworking and how this led to her success as a guitar builder.   Noemi also shares with us her approach to making different models, selecting topwoods, and the thought behind the visual aspects of her guitars. Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars and StewMac. Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.  

Episode 446 avec Aurélien et Sébastien S..La revue de presse :• A comme Arc (00:02:42) : Quand un nouveau navigateur pointe le bout du nez. Arc est un nouveau navigateur basé sur Chromium, disponible sur Mac et Windows. (Sources : arc.net, clubic.com et ) • B comme Basket (00:10:55) : Des vraies produits grands publics imprimés en 3D. Décathlon et HP s'allie pour une fabrication écologique. (Sources : usinenouvelle.com et 3dnatives.com) • B comme Basic (00:19:35) : Quand Basic fête ses 60 ans. Le language Basic fête ses 60 ans. (Source : arstechnica.com) On parle aussi d'MS-DOS 4, du retour du Nokia 3210 et de la republication de la keynote du 6 mai 1996 où Steve Jobs annonce l'IMac. (Sources : microsoft.com, leparisien.fr et appleinsider.com) • G comme Guitare (00:31:31) : Lutherie : enfin une guitare de voyage. Mogi invente une guitare en carbone pliable. (Sources : mogiguitar.com et ulule.com) • P comme Plante (00:37:01) : Quand les plantes émettent des sons. Des chercheurs découvrent que les plantes émettent des ultra-sons. (Source : sciencesetavenir.fr) • P comme Puter (00:41:12) : Puter, un OS décentralisé et open source. Un énièrme OS dans le cloud ? (Source : clubic.com) Dossier : NOIL : Électrification 2 roues (00:52:03)• Invité : Victor BREBAN, co-fondateur & Chief Legal Officer chez NOIL (Source : noil-motors.com)• Projet SPx de Peugeot Motocycles (Source : automobile-magazine.fr)• Peugeot 103 : un kit rétrofit officiel pour passer la mythique mobylette à l'électrique (Source : automobile-magazine.fr) Retrouvez toutes nos informations, liens, versions du podcast via notre site : LesTechnos.be

Episode 446 avec Aurélien et Sébastien S..La revue de presse :• A comme Arc (00:02:42) : Quand un nouveau navigateur pointe le bout du nez. Arc est un nouveau navigateur basé sur Chromium, disponible sur Mac et Windows. (Sources : arc.net, clubic.com et ) • B comme Basket (00:10:55) : Des vraies produits grands publics imprimés en 3D. Décathlon et HP s'allie pour une fabrication écologique. (Sources : usinenouvelle.com et 3dnatives.com) • B comme Basic (00:19:35) : Quand Basic fête ses 60 ans. Le language Basic fête ses 60 ans. (Source : arstechnica.com) On parle aussi d'MS-DOS 4, du retour du Nokia 3210 et de la republication de la keynote du 6 mai 1996 où Steve Jobs annonce l'IMac. (Sources : microsoft.com, leparisien.fr et appleinsider.com) • G comme Guitare (00:31:31) : Lutherie : enfin une guitare de voyage. Mogi invente une guitare en carbone pliable. (Sources : mogiguitar.com et ulule.com) • P comme Plante (00:37:01) : Quand les plantes émettent des sons. Des chercheurs découvrent que les plantes émettent des ultra-sons. (Source : sciencesetavenir.fr) • P comme Puter (00:41:12) : Puter, un OS décentralisé et open source. Un énièrme OS dans le cloud ? (Source : clubic.com) Dossier : NOIL : Électrification 2 roues (00:52:03)• Invité : Victor BREBAN, co-fondateur & Chief Legal Officer chez NOIL (Source : noil-motors.com)• Projet SPx de Peugeot Motocycles (Source : automobile-magazine.fr)• Peugeot 103 : un kit rétrofit officiel pour passer la mythique mobylette à l'électrique (Source : automobile-magazine.fr) Retrouvez toutes nos informations, liens, versions du podcast via notre site : LesTechnos.be

Josh Rieck has many arrows in his luthier quiver. He builds and repairs instruments, and also  owns a full-service music store in Sioux Falls, South Dakota. Josh started out studying double bass in college and then completed the Guitar Repair & Building program at Red Wing College in Minnesota. He does it all: Violin family instruments, acoustics, and electric guitars.    For Ep. 89 of the podcast, Josh tells us about his journey as a guitarmaker, including the year he worked behind-the-scenes at the National Music Museum, the growth of his own repair shop, and more. Josh also talks about his latest shop acquisition, a PLEK machine.    https://www.jrieck.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars and StewMac. Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.  

durée : 00:04:45 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch nous parle ce matin d'un concours : la 2ème édition du concours international de lutherie dont la finale aura lieu tout à l'heure à la Philharmonie de Paris.

Al Beardsell makes beautifully designed and crafted guitars in Winnipeg, Canada. Al started building as a musician because he could not find, or in some cases, afford the kind of guitars he wanted to play.     For episode 85 of the podcast, Al shares with us his thoughts on engineered sides, electric acoustic hybrids, making pickups, and much more. Finally, Al discusses why he thinks guitar making was the only career path for him and how he recently came to this understanding.  https://www.beardsellguitars.com/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars. Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.

Presentation and demonstration instruments by Thomas Grumler Lutherie (lutherieguitare.wordpress.com) by musician Hugo Martin (coursdeguitaremoderne.fr) in the presence of luthier Thomas Grumler during the Puteaux Guitar Festival. Thomas Grumler Lutherie demo concert Sound, video and edit: Philippe Camus The Guitar Channel podcast The audio version of the video is available in the podcast on iTunes, Spotify and

Présentation et démonstration de Thomas Grumler Lutherie (lutherieguitare.wordpress.com) par le musicien Hugo Martin (coursdeguitaremoderne.fr) en présence du luthier lors des concerts de démo du Festival Guitare de Puteaux 2023. Concert de démo Thomas Grumler Prise de son, images et montage : Philippe Camus Podcast de La Chaîne Guitare La version audio de la vidéo est L'article Thomas Grumler Lutherie – Présentation et concert de démo Hugo Martin à Puteaux est apparu en premier sur La Chaîne Guitare.

Instruments to drool over.  Fantasize about.  Lust after.  Stephen Stratton has been building stringed instruments since graduating from the Roberto-Venn School of Lutherie in Phoenix in 1998.  He now creates playable works of art from his shop in the Sacremento Mountains of New Mexico.  Stephen stopped by the Goldwater Building to chat about, you guessed it, guitars, as well as the life and times of this remarkable craftsman.

Presentation and demonstration of two guitars by TM Lutherie (tmlutherie.fr) by musician Marwan Boulaïd (marwanboulaidmusic.com) in the presence of luthier Thomas Meuret. TM Lutherie demo concert Sound, video and edit: Philippe Camus The Guitar Channel podcast The audio version of the video is available in the podcast on iTunes, Spotify and below: About the demo concerts

Présentation et démonstration de deux instruments TM Lutherie (tmlutherie.fr) par le musicien Marwan Boulaïd (marwanboulaidmusic.com) en présence du luthier Thomas Meuret lors des concerts de démo du Festival Guitare de Puteaux 2023. Configuration : Concert de démo TM Lutherie Prise de son, images et montage : Philippe Camus Podcast de La Chaîne Guitare La version L'article TM Lutherie – Présentation et concert de démo Marwan Boulaïd est apparu en premier sur La Chaîne Guitare.

Support Luthier on Luthier with our new Patreon page: https://www.patreon.com/luthieronluthier You may not know the name Mitsuhiro Uchida, but you should. Mitsuhiro is a national treasure of Japan and has influenced makers like Michi Matsuda and Isaac Jang, who join me for today's podcast.   Uchida-san started his international lutherie journey working for guitar companies in Japan and then moved to Germany to do repairs before working at Lowden Guitars in Ireland. In the 1990s, he moved back to Japan to set up shop on a remote mountainside where he builds incredible one-of-a-kind creations.  For episode 79 of the podcast, Uchida-san tells us his story and his philosophy of guitar making.    Links:  http://www.melodist-net.com/~harpguitar/UchidaGuitarEng.htm https://asamiuchida.thebase.in/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars.

In which we look into the young life of Nicolo Amati. I talk to Timo-Veikko Valve principal cellist in the Australian Chamber Orchestra who plays on an Amati Cello with a fascinating past.  Tracing the extraordinary life and career of Nicolo Amati, one of the most influential violin makers in history. Join us as we delve into the early years of this legendary craftsman, uncovering the formative experiences and remarkable craftsmanship that laid the foundation for his illustrious career. Looking into Nicolo Amati's life, exploring the influences, techniques, and artistic vision that shaped his path as a violin maker. From his apprenticeship under his father, Girolamo Amati, to his explorations of innovative designs and meticulous craftsmanship, we unravel the milestones that propelled Nicolo Amati to prominence. Join us as we uncover the triumphs and challenges Nicolo Amati faced throughout his career, the collaborations with renowned musicians of his time, and the legacy he left for generations of violin makers to come. Explore the craftsmanship, precision, and artistic finesse that made Nicolo Amati a true master of his craft.

This month's podcast features one of my favorite builders, Keisuke Nishi of Keystone Guitars.  Keisuke went to luthier school in both Japan and the US, worked for First Act, and then did an apprenticeship with acclaimed guitarmaker Mario Beauregard. For episode 78 of the podcast, Keisuke compares his educational experiences and discusses how he was eventually able to start his own shop in Tokyo. He also shares his thoughts on design, the luthier scene in Japan, and much more. Links:  https://www.keystone-si.com/ https://ogawainlay.com/ Love Luthier on Luthier? Support it via our new Patreon page:  https://www.patreon.com/luthieronluthier Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars.

The sons of Andrea , "The Amati Brothers" took violas, violins and cellos to new heights with their incredible skill and innovation. Meet Antonio and Girolamo before things get complicated in this first episode. This is the story of the Amati brothers, Antonio, and Girolamo. Join me as we explore the remarkable craftsmanship, profound influence, and indelible mark left by these legendary violin makers.  Discover the distinctive characteristics of their creations, renowned for their elegance, exquisite sound, and unparalleled craftsmanship.  Delve into the secrets of the Amati brothers' workshop, uncovering their innovative techniques, meticulous attention to detail, and the artistry that made their instruments treasures coveted by musicians and collectors worldwide. In this episode I speak to Cellist James Beck and Violin maker and Expert Carlo Chiesa.    Transcript of Episode  Welcome back to Cremona, a city where you can find almost anything your everyday Renaissance citizen could desire.  Located on a bend of the impressively long Po River, bursting with artisans and commerce, we find ourselves in the mid-1500s, and more precisely in the home of Girolamo Amati and Antonio Amati, otherwise known as the Amati brothers or the brothers Amati. In these episodes, I'll be talking about Andrea Amati's two sons, Antonio Amati and Girolamo Amati. Sometimes Girolamo Amati is also referred to as Hieronymus, the Latin version of his name.  Because I'm doing these podcasts chronologically, we heard about the early childhood of the brothers, in the Andrea Amati episodes. As we heard in the previous episode, Antonio Amati, the elder brother, by quite some years, perhaps even 14 years older than Girolamo Amati, inherited his father's workshop with his little bro when their father died.  They grew up in Cremona during the mid-1500s, in a time that was relatively more peaceful than their father's childhood and would have attended the local school. The local school was attended mainly by children of merchants and nobles. They would learn, in addition to the traditional subjects of geometry, arithmetic, and even astrology, subjects such as geography, architecture, algebra, and mechanics, both theoretical and applied. This created quite a well-educated middle class that the brothers would have been part of. Like their father, they would go on to be quite successful in their business, adapting their products to the demands of the time. The brothers were growing up in post Reformation Cremona, and the instrumental music was bounding forward. Renaissance composers were fitting words and music together in an increasingly dramatic fashion. Humanists were studying the ancient Greek treaties on music and the relationships between music and poetry and how it could.  This was displayed in Madrigals and later in opera and all the while the Amati workshop along with other instrument makers of course were toiling away making instruments so that all this could happen. Now the eldest brother Antonio Amati never appears to marry or have a family but the younger brother Girolamo Amati apparently a ladies man, does and as you would have heard in the previous episodes, when he was 23, he married Lucrencia Cronetti, a local girl, and she comes to live in the Amati house, handing over her dowry to her new husband (Girolamo Amati) and father in law (Andrea Amati). A few years later, Girolamo Amati's father saved up enough money to buy the family home so that when he passes away in 1576. Girolamo Amati is in his mid-twenties and his older brother (Antonio Amati) is probably around his late thirties. They inherited a wealthy business, a house, and a workshop.  So here we find the Amati brothers living and working together in the house and workshop in San Faustino (Cremona). Antonio Amati, the head of the household and Girolamo Amati with his young bride. Business is looking good, and life looks promising. Antonio and Girolamo may have been some of the only violin makers in Cremona, but they were by far not lone artisans in the city. They were surrounded by merchants and tradespeople busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers, just to name a few of the 400 trades listed in the city at this period. Business was going well for our violin makers. There was a boom in the city. Many noble houses were being built amongst which the grand residences of merchants stood out, sanctioning their social ascent.  Charitable houses, monasteries and convents were popping up like mushrooms around town.  Ever since the Counter Reformation, the local impetus to help the poor and unfortunate had flourished. Wondering what the Counter Reformation is? Then go back and listen to episode two of the Andrea Amati series. Where we talk about what the Reformation was, what the Counter Reformation was, and what its effects were on artisans in Cremona.  But nowhere said organized religion like the Cathedral. And entering the vast, echoey structure was something to behold, with its mysterious, awe-inspiring grandeur, the towering heights of the ceilings inspiring a sense of reverence and humility. The vaulted arches and frescoed domes drawing the eye upwards, the kaleidoscope of colors entering the windows, and the glittering of precious metals illuminated by flickering candles, ornate furnishings, intricate artworks, sculptures, and base reliefs with depictions of saints, biblical stories, and the scenes from the life of Christ covering the walls, all created an otherworldly feeling and a sense of the divine.  And what would the Cathedral be without music? The glittering of gold, the fragrant smell of incense, and the heavenly sounds of music were an all-in-one package for the regular church attender in the Amati Brothers Day. The Chapel House School of the Cathedral produced many talented composers, yet the church would only sponsor and permit sacred music. And even then, this music had to be in full compliance with the Council of Trent. This meant following a whole bunch of rules in composition. Wing clipping of aspiring young composers led to many of them moving away to other courts and cities who were looking for fresh, raw talent. This may or may not have been the case for a musician and composer called Claudio Monteverdi. But what we do know is that he left Cremona to join the employ of the Mantuan court at the age of 23.  I spoke to cellist James Beck about Monteverdi, who was a Cremonese composer who left the city to work at the Gonzaga court during the Amati brother's lifetime. And so Monteverdi, for example, to take him as an example, he was employed in the court, in the Manchurian court, and he was just one of many musicians and  composers. And also I'm wondering about just, the everyday life, would they also,  were musicians expected to, to wear certain.  Clothes, like they were just told, look, this is what you're wearing. James Beck Livery is the term for the, the uniform of the house. And we know about that kind of stuff from, you know, Downton Abbey and all that kind of stuff so musicians were very much part of the servant class, a very intellectual servant class and a very trusted servant class, but Monteverdi arrived at that Gonzaga court in Mantua as a string instrument player of some kind. We don't really know if it was a gamba, you know, between the legs or brachio held like a violin. He was at the court for about, I think, 10 or 15 years as a string player before he became The Maestro de Capelle and of course that was a very trusted employee because he accompanied his employer, the Duke, on various war campaigns or social outings to other countries, as a musician and maybe as some kind of trusted part of the entourage. So, Monteverdi was picking up lots of ideas about things that could go on in music because he was witnessing different practices, he was in Flanders. He was in Hungary. He was in other parts of Italy seeing how they did music over there on the other side of the fence and I think that is what can never be underestimated, that communication was haphazard and accidental in previous times and there was no such thing as uniformity. So, to go to another country and to go to another court and to see musicians who had different training or had come into different spheres of influence to yourself would have been hugely, hugely exciting and influential and we think that Monteverdi picked up some of the ideas of what might be opera from these kind of trips. Linda Lespets It makes me think of when I was a student and I would do work experience in different workshops and they would, I had been taught in French school, it was a very specific way of doing things and I'd go to another workshop and I'd just be like, wow, it's like, what are you, what are you doing? How could this possibly work? And it does. And you're like, oh, and now I feel like I, the way I work, it's a mixture of all these different techniques. What works best for me. And it must've been magnified so much, to such a greater level for in that period for music and competition. Because of the, because of the social isolation and the geographic isolation of previous times. James Beck And I mean, just if we just talk about pitch, whole idea of what is An A was different in each town, and it might have sounded better on some instruments than not so good on others, and those instruments would have been, you know, crafted to sound good at those different pitches. And now we all play the same pitch, and we want every instrument to be the same. What were some of the, if you could generalize, what were some of the differences for you? In the different Lutherie schools. Linda Lespets  So, in the French method, you basically hold everything in your hands or it's like wedged between you and the workbench and you don't use really, uh, vices. And I have quite small hands and  I did one work experience and the guy was like, just put it in a vice. And I was like,  Ohhh, and I was getting a lot of RSI  and sore wrists and it kind of just, it was sort of practical as well. James Beck Wow. And is that for crafting? Individual elements or is that for working on complete instruments?  Linda Lespets Like in general, like you just, you can make a violin without using a vice and they, they won't use sandpaper or it's all done with, scrapers. So it's good. I know all the different techniques and I can, when there is a blackout or an electricity failure, we can just keep on going. Like, we can keep rolling, it doesn't stop us.  There was a thing with Monteverdi that, that you seem to know about how madrigals. James Beck I know about madrigals. I hope I do. Linda Lespets  In Mantua and the, this kind of trapezoidal room. James Beck  There's a very special room in the ducal court.  Ducal castle or Ducal palace in Mantua, and they call it the wedding room and it's a room that was, had existed for some time. I mean, it's a huge, huge palace, I think it's the sixth largest palace in Europe. So, it's 34, 000 square meters, 500 rooms.  And this is not, I mean, Mantua was not a big state.  You never know when you need 500 rooms.  It wasn't a big state, but it was a very aspirational state. And they really wanted to kind of prove themselves amongst these, the cultural elite of Northern Italy, because there were extraordinary things going on in Florence and Venice. So, you know, they were really, the Gonzaga's were really trying to hold their own. So, they had one of these 500 rooms slightly remodelled. So it was of cube proportions.  Right. So, you walk into a cube. You walk into a cube and then, they commissioned, a very, uh, distinguished painter to cover, everything within that room in very realistic, uh, lifelike portraits of, of the Gonzaga's going about their life. And this was the highest status room in the palace, and it was used for various purposes to impress. So, it could be used for ceremonies, or it could be used for, as a bedchamber for the Duke if he wanted to receive a guest of high status, and show that guest that he slept in this incredible room. Linda Lespets Slightly creepy.  All these people looking at you. James Beck  I know, and they're really, there's a lot of eyeballing in those portraits.  So it's like, you're outnumbered. Like when you go in there, like you're surrounded by people. You're surrounded by the Gonzaga's. We're here. That was not a very, uh, fertile or, healthy line. So, they were dying out fast, but there were lots of them painted on the walls. Linda Lespets Wasn't there one with mirrors? James Beck There was a hidden room, that they discovered in, I think 1998. ., which had mirrors. Linda Lespets  and I was wondering what the,  maybe it was polished metal, the mirrors. James Beck I'm not sure where they would, where they would sing madrigals. Well, they think it was specifically for, for performances of Monteverde, but I don't know. . Why a hidden room is needed. Yes. And how, how do you hide a room for 500, or, sorry, for 200 years, maybe it was walled up. Linda Lespets Well, I mean, if you're in a palace with 500 rooms, you might miss one, you know, if it's walled up. James Beck  And also there was a big, there were quite a lot of, traumatic experiences in the Mantuan court. Not long after Monteverde left there, there was a siege and a war and then a lot of plague. So you can see how knowledge could dissipate and everyone could die that knew about it , exactly absolutely.  When the Gonzagas were running out of heirs, their neighbours and, and particularly the Hapsburgs, were like, Hmm, we might take that little gem of a dutchie. So they, they laid siege to it for two summers. War was a summer sport at those days. 'cause you know, no one wanted to do it in winter 'cause it was just too much. And Mantua is at that stage was completely surrounded by water. It was very cleverly conceived and beautifully conceived too because the water reflects the beautiful buildings. And so they, the Mantuan's stockpiled food and drew up the bridges. And, and for two years they were, no one came in or out of the city whilst the Habsburgs laid siege. And actually the Habsburgs didn't really get through those defences, but at the, in the second summer, in the second siege, a cannonball did get through and then the whole, the cannonball made some rats got through and those dirty soldiers who'd been on campaign for two summers were riddled with plague and the plague got into the town and that was actually undoing of the Gonzaga dynasty. Linda Lespets A rat brought them down. James Beck A rat brought them down. And so, the plague weakened the city. The city fell. And then that plague was taken by those refugees from Antwerp down into Venice. And Venice was absolutely devastated by plague for something like 10 years. And the city's population plummeted to its lowest in 150 years. Linda Lespets Wow. . And it's true that war was like a summer sport. And I'm wondering if nowadays, we, you know... That's, we play sport instead. Well, I hope, I think that's why we do play organized sport. I think that's, you know, it's... Take the World Cup or something.  Well although that's, not... To get that aggression, to get all that aggression out of our system in a nicely controlled manner. James Beck It is like countries like against each other. Totally is. Linda Lespets The Cremona City Municipality had at its disposal a group of wind players, mostly made up of brass instruments, trombones, bombards, bagpipes, and sometimes a cornet. This ensemble was particularly suited for outdoor performances.  Or at least I hope it was. I don't know if you've ever heard a bombard being played inside. I have.  Anyway, the viola da braccia players and viola or violin players were also employed by the town hall and given a uniform made of red and white cloth.  This was the instrumental group in the church, and it doubled up for civic occasions as well.  I speak to Carlo Chiesa, violin maker and expert in Milan. Carlo Chiesa And the other way by which Cremonese makers got their success is musicians, because in the 16th century, there are a few important Cremonese musicians moving from Cremona and going to northern cities to play for the emperor, for the king, or to Venice. I think the most important supplier of instruments at some point out of Cremona was the Monteverdi Circle.   Linda Lespets This orchestra employed by the city of Cremona played both for the council and in the church on all public holidays and in processions.  One of their members, a cornet player called Ariodante Radiani,  who was paid the considerable sum of 100 lira. When the maestro di cappella was paid 124 lira, ended up having to be let go. It turned out he was a little bit laissez faire with his responsibilities as a musician, and a lawsuit was brought against him for neglecting his duties as a musician. To add to this, he was also found guilty of murder.  So, in the end, their homicidal cornet player was replaced.  Linda Lespets  You know, you've got the scientists and human thought and philosophy and looking back to Greek and Roman antiquity. So, I feel like that's, that's like the idea in art, in literature. And what do you, how do you see that happening?  in music. James Beck We as musicians had really practical roles to fulfill as well and sometimes that was expressing the will of the church through music and of course you know that's kind of self-explanatory and then we've got this really practical role to entertain and how we go about doing that with the materials we have. So the renaissance as an idealistic expression, I think, you know, as a practical musician, we were always doing others bidding out unless we were church musicians, we were there to entertain and to, excite and to distract and act as an instrument of sometimes of state policy or, or, you know, kind of  showing off the power or opulence of a state.  Maybe it was through, opera. Where are you?  You're getting like human emotion. Yes, absolutely, absolutely. But also, the subject of all those early operas is usually, ancient material from ancient Greece or Rome, so, you know, clearly Renaissance in its ideals of looking back. Othello.  Of course. Poppea, Ulysses. I mean, the operas were definitely, drawing into ancient literature and myth, which was bypassing Christianity in many ways.  Linda Lespets  It's strange because it was an era where it didn't really contradict the other. People were cool with it. Like they were very devoted churchgoers and at the same time they were very into all this Greek and Roman mythology. It was interesting. And then all this humanist thinking and invention I mean, Monteverde was a priest as well, right? James Beck  Towards the end of his life. Linda Lespets Instruments are starting to play a bigger role in the music, in the church in Cremona. In 1573, the Maestro de Capella, the Chapel Master at the cathedral, wrote a piece of music for five voices, consorted with all sorts of musical instruments.  The words and text are completely clear in accordance with the Council of Trent, he points out. The Amati brothers' father, Andrea Amati, would have witnessed this musical tradition in his lifetime as he attended church, where the music sung would have gone from something that had been unrecognizable in, or in any case very difficult to understand, to music that had identifiable text that could possibly be understood and sung with. They were not hymns like the Lutherans were singing in a congregational style, but there was a marked change in the music being played in the churches. And these were the effects of the counter reformation trickling into everyday life of the people.  The workshop continued to be a success. Both the brothers Amati were able to earn a living and to provide a generous dowry for their sister, who had just recently married a man from Casal Maggiore. In town, the cathedral looked like it was finally going to have the interior finished. This had been going on ever since their father was a little boy. And now it looked like all the frescoes and paintings were to be completed. And most amazing of all was an enormous astronomical clock that was being mounted on the terrazzo, the giant bell tower next to the cathedral. Sadly, Girolamo Amati's pregnant wife would never see the clock that would amaze the citizens of Cremona, as shortly after giving birth to their daughter, Elizabeth, Lucrenzia ( Girolamo Amati's wife) died. The fragility of life and uncertainty that Girolamo Amati had to deal with is quite removed from our lives today, and a man in his situation would certainly be looking to marry again, if for nothing else than to have a mother for his young daughter. And as he was contemplating remarrying, finding a new wife and mother for his child, over in Paris, one of the biggest celebrity weddings of the decade was taking place. And the music for the closing spectacle was being played in part on the instruments his father (Andrea Amati) and brother (Antonio Amati) had made for the Valois royal family all those years ago.

Joshia de Jonge builds world-renowned classical guitars out of her one-person shop in Western Quebec. Joshia grew up in a famed guitar-building family and was helping her dad, Sergei, build and teach guitarmaking while she was still a teenager. For episode 77 of the podcast, Joshia tells us when she decided to make lutherie her full-time profession and why she now focuses on nylon-string creations. We also talk about double tops, tornavoz, side ports, laminations and much more. Link: https://joshiadejonge.com/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company, Stringjoy Strings, and Dream Guitars.

This week, Micah Bruce (Bruce Guitars) joins us to talk about the 2023 Fretboard Summit guitar giveaway and so much more. Bruce does a bit of everything: Electric builds, acoustics, repair and restoration. Speaking to us from his new shop space in Ohama, Nebraska, he recounts his early days in the guitar industry when he landed a job at Collings in Austin, Texas. We then talk about his time at Allison Guitars and Moniker and his decision to set up his own shop and work for himself. It's a candid look at the realities of the guitar industry and the life of a solo, largely self-taught guitarmaker.   https://bruceguitar.com/ https://www.instagram.com/bruce_guitars/ Now the big news: Micah will be building a custom guitar that one lucky 2023 Fretboard Summit attendee will get to take home.    Check out his current offerings: https://bruceguitar.com/build and tell us what you think the ultimate "Fretboard Journal" Bruce guitar would look like. Send your comments, ideas, and secret Brazilian rosewood stash GPS coordinates to podcast@fretboardjournal.com.  And come see Micah and over 40 other great guitarmakers at our 2023 Fretboard Summit. All-access tickets are on-sale now. Lutherie-showcase only (no concerts, no workshops) tickets will be available soon.   The Summit takes place August 24-26, 2023 at Chicago's Old Town School of Folk Music. https://fretboardsummit.org/   Our podcast is sponsored by Retrofret Vintage Guitars; Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings. Need a subscription to our keepsake print magazine? Simply click here.

From a young age, Tim Frick knew that he wanted to make instruments. As a teenager, he began building basses for himself. He'd eventually take a class with famed archtop guitarmaker Tom Ribbecke, work at Gary Brawer's repair shop in San Francisco, and then spend years alongside lutherie legend Frank Ford at Gryphon Guitars in Palo Alto, California.  These days, Frick is based in Portland, Oregon, where he repairs guitars and builds his own archtop guitar creations. For episode 75 of the podcast, Tim tells us about his journey, why he uses mostly hand tools, and his thoughts on voicing archtops. We also talk Japanese hand tools and much more.  https://timfrickguitars.com/ https://www.instagram.com/timfrickguitars/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company (check out their new Gruhn Guitars blend), Stringjoy Strings, and Dream Guitars. 

On this week's podcast, we're joined by two instrument-making legends, Michael Gurian and Dick Boak. Gurian was of course the namesake founder of Gurian Guitars, while Boak famously worked at Martin Guitars for four decades. Michael and Dick recently co-authored the Fretboard Journal's first standalone book, 'An Instrument Maker's Guide to Insanity and Redemption.' It's a compilation of off-beat and behind-the-scenes stories from dozens of instrument makers and repair people. Included are entries by George Gruhn, Kathy Wingert, Joe Glaser, Bob Taylor, Linda Manzer, and others. During our chat, the duo talks about how the book project came together, the recurring themes found amidst these various luthiers' tales, why instrument makers need to have a great sense of humor, and so much more. In addition to talking about the book, we also hear about the instruments Michael and Dick are currently working on,  including the all-spruce guitar that Boak recently built. Michael shares stories from the old days of wood buying in New York City and tells us about how he just reunited with one of his old clients, Paul Simon.  It's a great chat with two acoustic guitar innovators. Order the Gurian / Boak book here:  https://shop.fretboardjournal.com/collections/all/products/pre-order-an-instrument-makers-guide-to-insanity-and-redemption Register for our 2023 Fretboard Summit here:  https://fretboardsummit.org/ Our podcast is sponsored by Retrofret Vintage Guitars; Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings.

Legendary inlay artist Larry Robinson has been adorning guitars with jaw-dropping inlays for over 40 years. For episode 74 of the podcast, Larry discusses the creative and the technical side of inlay work and working with directly with guitar builders and players.  Larry also shares his experience working on the Millionth Martin guitar, as well as other now-famous inlay projects. We also hear about Larry's first jobs in lutherie, his books and instructional materials, and how he sources his raw materials.  Link: https://robinsoninlays.com/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company (check out their new Gruhn Guitars blend), Stringjoy Strings, and Dream Guitars.

Guitarist Michael Watts is back for episode 73 of the podcast.  Michael recounts the history of Scott Chinery's famous Blue guitar collection and how it led to his new gig working for the Archtop Foundation. Michael also shares with us his views on flattop vs. archtop guitars, his experience with online gigs during Covid lockdowns, previews all his latest projects, including a new podcast he's hosting for the Fretboard Journal (Life on the Fretboard with Michael Watts), and, finally, his finest cure for jetlag.  Links: https://michaelwattsguitar.com/home https://theblueguitars.com/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal.   This episode is sponsored by Acoustic Coffee Company (check out their new Gruhn Guitars blend) and Dream Guitars.

Many of us are methodically checking the water level on our Christmas trees right now. Are you also checking the humidity around your guitar collection? Hopefully, you are, as winter can wreak havoc on acoustic (and electric) guitars.     On this week's podcast, we pick the brain of Darrell Jennings, founder of American Music Furniture. Darrell is a lifelong instrument collector who has spent the last several years creating the ultimate guitar storage solution. We talk about proper guitar storage during the winter months, the importance of humidifying your guitar room, and so much more.    During our talk, Darrell offers suggestions on simple ways you can hydrate your guitars at home, and even tells us about some affordable systems that allow you to monitor your room's humidity and temperature while traveling. We also talk about the work that goes into American Music Furniture cabinets, the technology that they employ, and a lot more.    https://americanmusicfurniture.com   Some of the products also mentioned on this episode:    Dampit Guitar Humidifier (Amazon link)   D'Addario Humidipacks (Amazon link)   Govee WiFi Hygrometer Thermometer monitor (Amazon link)   We are now offering presale discounted three-day tickets to the 2023 Fretboard Summit (link). Get a gift subscription to the Fretboard Journal this holiday season. Our new issue mails this week! https://shop.fretboardjournal.com/collections/all/products/fretboard-journal-gift-subscription Our podcast is sponsored by Retrofret Vintage Guitars, Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Calton Cases.

Bryan Galloup started out as a tool and die maker and now runs one of the largest lutherie schools in the US, in addition to making his own line of highly-coveted acoustic guitars.    For episode 72 of the podcast, Bryan tells us about his background before making musical instruments, the path that led to the development of his wood grading system, and his views on voicing guitars. We also discuss running a school and what it's like to collaborate with his former students.   https://www.galloupguitars.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company and Dream Guitars.

For his entire life, Max Krimmel has dedicated himself to two paths: Making and music. Though Max stopped building guitars in 1983, he went on to craft dulcimers and marimbas and create turned alabaster pieces, some of which are on display in the Smithsonian.  For episode 71 of the podcast, I sit down with Max in his Nederland, Colorado studio to hear his thoughts on being an independent guitar maker in the '60s and 1970s. We talk about his very last guitar, Kasha bracing, and the transition he made to making other instruments and crafts. http://maxkrimmel.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Acoustic Coffee Company and Dream Guitars. Luthiers for a Cause: https://www.luthiersforacause.org

Le Festival Guitare de Puteaux 2022 comportait dans son programme des concerts de démo qui ont permis de découvrir les instruments exposés par au salon des luthiers organisé par La Chaîne Guitare lors du festival dans le magnifique conservatoire Jean-Baptiste Lully. Voilà une guitare de JRK Lutherie (jrk-lutherie.com) présentée en vidéo par le luthier et jouée par Hugo Martin (chaîne YouTube). L'article JRK Lutherie – Présentation et concert de démo Hugo Martin au Festival Guitare de Puteaux 2022 est apparu en premier sur La Chaîne Guitare.

Our Chicago Fretboard Summit was filled with highlights. Among them was TJ Thompson's return to the stage for another mind-blowing talk about following your heart, vintage guitar restoration, and so much more.  During this 90-minute session, the acclaimed pre-war Martin guitar expert offered a bit of everything: Sage advice for new instrument makers; insights on how to protect the value of your acoustic guitars; life hacks that we can all learn from; and even a little beer koozie philosophy lesson. Toward the end of his session, TJ had some quick tips for fellow luthiers. A few benefited from a visual reference so we posted the video excerpts on our YouTube channel: https://youtu.be/xc02s7rp-bM It's an unfiltered and candid talk from one of the guitar world's best. For his talk, Thompson invited friends and clients David Ziegele and Al Drewes onstage. You'll hear them occasionally interject and offer their own personal experiences with vintage guitars. Apologies for the lav mic noise; we did our best to reduce it. Recorded live on August 27, 2022 at Old Town's Maurer Hall.  The Fretboard Summit will return to Chicago's Old Town School of Folk Music on August 24-26, 2023. We'll share ticketing information soon. TJ's lutherie tool shop: https://proluthiertools.com Donate to Linda Manzer's Sunflower Guitar for Ukraine: https://sunflowerguitar.com Love the show and want to support the Fretboard Journal Podcast? Pick up a digital subscription to our magazine: https://shop.fretboardjournal.com/collections/downloads/products/fretboard-journal-digital-subscription-offer (It's just $30 annually and it goes a long way towards supporting the show...and you get to read the Fretboard Journal!)  Our podcast is sponsored by Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); Retrofret Vintage Guitars; and Calton Cases. Special thanks to our 2022 Fretboard Summit sponsors: C.F. Martin & Co., Collings Guitars, Santa Cruz Guitar Company,  Henriksen Amplifiers, Yamaha Guitars, Reverb,  RØDE Microphones,  Galloup School of Lutherie, Acoustic Coffee and Calton Cases!

Guitarmaker and repair expert Eric Daw returns to the Fretboard Journal Podcast to talk about his recently released book, 'Solid Sound: 23 Schematics for Wiring Vintage and Modern Single-Coil, Solid-Body Guitars.' The book features Daw's favorite pickup wiring layouts for Fender-style guitars, including a few that he's closely guarded over the years, along with helpful charts and advice that will have you seeing your guitar in a whole new light. During our chat, he explains how transformative some of these wiring changes can be to a guitar (even without swapping pickups) and how even a single-pickup Esquire could benefit from a non-stock wiring setup. We also discuss Daw's current guitar output, his repair work, and the call-in guitar repair podcast he hosts, the Fret Files. Order Solid Sound here: https://www.solidsoundbook.com The Fret Files Podcast: https://www.fretfiles.com This Fretboard Journal Podcast is sponsored by Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); Retrofret Vintage Guitars; and Calton Cases. Order the Fretboard Journal here: http://fretboardjournal.com/subscribe and support this podcast and all that we do.

C'est par la magie de l'Internet que j'ai rencontré le luthier Matthieu Graziani (grazianiguitars.com) puisqu'il s'est abonné à La Chaîne Guitare en juin 2021. Je lui avais passé un coup de fil, comme je fais pour tous les abonnés, et comme on avait bien accroché dans notre première conversation, on avait convenu de faire une L'article Matthieu Graziani, interview du luthier corse, formé à la lutherie du quatuor en Italie est apparu en premier sur La Chaîne Guitare.

San Antonio's James Roadman is not only a top-notch repair person but also the maker behind some incredible tooling for luthiers. For Episode 69 of the podcast, James tells us how he went from making his own drum set to repairing guitars. He also covers all his machine shop tools and how he uses them in both repair and machining.   http://www.jroadman.com/instruments/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars. This episode is sponsored by Acoustic Coffee Company and Dream Guitars.

In this episode, Alex visits Brooklyn Lutherie, the only woman-owned and operated guitar shop in New York City. While there to pick up his double SG, he chats with Mamie Minch, the shop's co-founder, about the repair on his guitar and learns something new about it in the process. Alex, Mamie, and co-founder Chloe Swantner discuss what it was like to start a guitar repair business in what has traditionally been a very male-dominated field, and how Brooklyn Lutherie is changing the ratio. Mamie and Alex also discuss her musical career and her influences, which include two relatively unknown but fascinating female musicians, Connie Converse and Judee Sill. You'll also hear a bit of Mamie's music.Mamie Minch is a longtime staple of New York City's blues scene. She began playing guitar as a teenager in her bedroom listening to reissues of class country blues on repeat. She would try her hand at picking out the songs of legends like Mississippi John Hurt, Lightnin' Hopkins, Memphis Minnie and Bessie Smith. She loved the steady thumb and percussive right hand of these blues players, but she also devoured lots of different styles of music, from soul to psychobilly and old time to punk rock.When she's not making music, Mamie spends her days as a guitar repair luthier at Brooklyn Lutherie, the shop she and her business partner, Chloe Swantner, opened in 2014. It remains one of the few women-owned and -operated shops around. She also teaches, writes articles about luthiery and guitar playing for She Shreds and Acoustic Guitar magazines, and runs the annual Ukulele Building Camp for Girls in Brooklyn, NY.Moods & Modes is presented by Osiris Media. Hosted and Produced by Alex Skolnick. Osiris Production by Kirsten Cluthe and Matt Dwyer. Editing and mixing by Matt Dwyer. Music by Alex Skolnick. Artwork by Mark Dowd. If you like what you hear, please subscribe, rate, and review! Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Musician, vintage instrument expert, and guitar dealer Eric Schoenberg is largely responsible for the resurgence of OM-size guitars. In the early 1970s, Eric worked with the Martin guitar company to start making OM guitars based on their own late 1920s and early 1930s designs. The project at times also included names we all know such as Dana Bourgeois, TJ Thompson, Julius Borges, John Slobod, Bruce Sexauer, Robert Anderson, Randall “Sparky” Kramer, and others.  For Episode 68 of the podcast, we hear the history of Eric's path as a professional player, guitar designer, and retailer, and his thoughts on OM's, 12 fret vs 14 frets guitars, and much more.   Link: https://om28.com/ Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars. This episode is sponsored by Acoustic Coffee Company and Dream Guitars.

Les Godfrey makes world-class electric guitars and basses known for their unique style out of his one-person shop in Kingston, Canada.   For episode 67 of the podcast, Les dives deep into his thoughts on design and the role of instrument making in his life. We also hear about his time working in Carl Thompson's shop, his time as a touring musician, and how he started making guitars.   Link: https://www.godfreyguitars.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars. This episode is sponsored by Acoustic Coffee Company and Dream Guitars.

Dusty Gregg spent years as a professional touring guitarist and road tech before starting his own line of guitars. For episode 66 of the podcast, Dusty tells us about how his time on the road serving professional musicians influenced his guitar designs. He also shares his thoughts on winding pickups, pickup magnets, carbon fiber, and much more.   http://www.greggguitars.com Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars. This episode is sponsored by Acoustic Coffee Company, Allied Lutherie, and Dream Guitars.

Friends Rich D'Ginto and Mike Desiderio love two things: great guitars and great coffee. So they decided to combine their passions and create Acoustic Coffee Company, a new subscription-based coffee company with perks catering specifically to guitar fanatics. During our chat, Rich and Mike talk about some of the guitarmaking and woodworking pursuits leading up to the launch of the coffee project, where they see the company expanding and a lot more.  FJ fans: Acoustic Coffee Company is offering our listeners a free bag when you buy two or more. Just use the code FJ50 when you check out at https://www.acoustic.coffee.  This episode is sponsored by Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Retrofret Vintage Guitars; Izotope (use the discount code FRET10 to save 10% off your Izotope purchase); and Calton Cases. Subscribe to the Fretboard Journal magazine here and support all that we do, including our growing family of podcasts. Click here.

The intro to this episode might sound a rant, but I think it is not. It depends on how you take it. But as I have always said: pick my opinion with a grain of salt because it is my personal opinion. I did make a comment about what egregious SCOTUS’ majority has emerged after Alito’s draft majority opinion. I am in favor of Women’s right and acknowledging that we can learn a lot from them. The World is not the boy’s club anymore. Speaking of… my guest is an amazing luthier and classical guitar performer. Emily Alice Shaw lives in Canada and has released two CDs (Vespers and In the Night). I strongly suggest to acquire them in physical format. In our conversation we talked about her musical career, female composers, music education, lutherie (although I missed the opportunity of asking her a few questions after I listened and edited this episode), Andres Segovia (I did a bad joke about him), digital platforms for teaching and music streaming and so much more. Did I pick your brain already? No, well then you need to listen to this great conversation where laughter was a constant, or at least it looks like. You tell me. If you want to know more about Emily Shaw, I encourage you to visit her website: https://www.emilyshawguitar.ca/ The songs included in this podcast: Vespers’ Prelude (Track 4 from Vespers and composed by Graig Visser) and Prelude from Suite in DMinor ( Track 6 from In the Night composed by Elisabeth Jacquet de la Guerre) are protected under US and Canada’s Copyright Act and its ownership/proprietorship belongs to Emily Alice Shaw and each composers. Any unauthorized used will be subject to prosecution as per 17 USC §1101 et seq. Copyright © 2022 Music in 2Flavors/Música en 2Sabores®. All rights reserved. The content of this episode is protected under US Copyright Act and under International Copyright, and Trademark Law. These statutes protect the audio, video, still image, logos, designs, graphics and any other mean where this podcast is broadcasted. Any reproduction, either digital, streaming, analog recording, video recording, tape recording or on any form of reproduction created in the future, of this episode and/or music, either partially or fully, it is forbidden without the previous authorization of their owners/proprietors/authors/creators/producers. IT IS FORBIDDEN AND PROHIBITED THE REPRODUCITON OF ALL OR PARTS OF THIS AUDIO ON ANY FORMAT. Violators will be prosecuted under USA Law. Music in 2Flavors/Música en 2Sabores® logo is a registered trademark. All use, replica, reproduction or use of the words and/or logo, in any form, format, is forbidden without proprietor’s authorization. Any misuse, use of similar brands that could create confusion or dilution is considered trademark infringement. These causes of action are not exclusionary of other causes of action that could arise from State or any other Federal Law such as: passing off; contributory passing off; reverse passing off; misappropriation; as well as any other cause of action, such as torts, that originates from violator’s action. Furthermore, make sure to leave your comments at any of your favorite platforms or on my website, and let me know what you think of this episode. Also, if you happen to use iTunes or Apple Podcast, please leave a review and as many stars as you like. The more stars and reviews I get, there could be a likelihood that more people get interested in my content This music podcast is made out of pure love and in appreciation to all of those people that care and are huge supporters of our music scene. Please remember to follow me on my different platforms. Twitter : M2fM2s Instagram : Music2Flavors Website : www.musicin2flavors.com Ko-fi: : https://ko-fi.com/m2fm2s You are more than welcome to do a one time or more than one-month donation to keep this music project on-going and possible. If you cannot afford a financial support, please share it in your favorite social media and tagged me. I would appreciate it and in return give you a shout-out on all my platforms and on the next episode. Telegram : If you want to be part of this social platform and my group, you are more than welcome. Just shoot me an email at jaime.riera@musicin2flavors.com

Doug and Sharon Proper own and operate Guitar Specialist, one of the top repair shops in the country. Doug started out with ambitions of becoming a professional jazz guitarist and began repairing guitars to help pay for his music studies in college. For our 65th episode of the podcast, Doug tells us about approaching lutherie as a sound financial business and his philosophy on pricing and customer relations. We also talk about some of Doug's favorite tool, least favorite jobs, and much more. https://www.guitarspecialist.com Hosted by Michael Bashkin of Bashkin Guitars. This episode is sponsored by Acoustic Coffee Company, Allied Lutherie and Dream Guitars.

Veteran luthier Bruce Sexauer has been building guitars for over 50 years. For episode 64 of the podcast, Bruce tells us about his moldless method of construction, his oil varnish finish, and his collaborations with Eric Schoenberg. Bruce also shares is thoughts on the relationship between function and beauty in his guitars and how this relates to personal growth.   https://sexauerluthier.com This episode is sponsored by Acoustic Coffee Company, Allied Lutherie and Dream Guitars.

Chers Amis, L'invité de ce nouvel épisode est Ralph Dumonteil, artisan Maître luthier et Directeur Artistique de la Maison Pierre Jaffré. J'ai rencontré Ralph peu avant mon départ de Paris chez un ami équipementier de boxe anglaise. Ce qui m'a tout de suite séduit dans sa personnalité, c'est son attention apportée aux détails et à la beauté des objets se traduisant dans son travail des instruments du quatuor (en bois et à cordes quelquefois centenaires : violons, altos, violoncelles, contrebasses…). Il faut respecter le propriétaire de l'instrument, mais surtout respecter l'instrument : car moi ou le client pourrions disparaitre mais l'instrument lui restera. J'ai pris beaucoup de plaisir dans la réalisation de cette interview. Si vous aussi avez aimé ce podcast, n'hésitez pas à laisser un commentaire en le notant avec 5 étoiles sur l'application Apple Podcast de votre smartphone ou sur Itunes depuis votre ordinateur. Vous pouvez également vous abonner sur la plateforme Apple Podcast I Spotify I Deezer I Stitcher I TuneIn I Podcastics pour ne pas rater une miette des podcasts à venir !  N'oubliez pas de partager le podcast, de le noter en laissant votre ressenti, c'est très important pour aider le podcast à émerger dans les classements en plus de le faire découvrir au plus grand nombre tout en me motivant à m'améliorer en faisant de nouveaux épisodes ! Bonne écoute, Stéphane Titre: Eclectic Prawn Auteur: Dumbo Gets Mad Source: https://dumbogetsmad.bandcamp.com Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.fr Téléchargement (9MB): https://www.auboutdufil.com/index.php?id=470

Warning! This episode is louder than previous. The goal is less white noise. Give audio feedback @artistwithbrian on Instagram. Julia is a lutherie in Santa Fe, New Mexico. Inquire about violin and viola commissions via Instagram @felixviolins  

Damon Mailand is Master Luthier at the legendary Benedetto Guitars. We dive deep and discuss all things archtop!

What's next for Women at the workbench? Join Rozie as she interviews Jeemin Kim and Jennifer Creadick, co founders of the nonprofit organization (and all around amazing gathering of women) - Women in Lutherie. We discuss long standing issues in this field and how the WIL group is pushing the needle forward to create a more equitable space for women in this field. Special Guests: Jeemin Kim and Jennifer Creadick.

Welcome to the podcast! Do you make things? Let's chat. Every week, host Ben Liggett (owner of Liggett Guitars) interviews a guest who excels at their craft. Most of these guests are from the world of high-end guitars, but Ben will interview anyone who is really good at their job. Jeweler? Stone-mason? Let's get INTO IT. In the first of an ongoing series on the late luthier Taku Sakashta, I interview Mr. Mike Oria, a friend and client of Taku. Taku Sakashta's work speaks volumes just through images, so I wish to speak to those that knew him and experienced his instruments first-hand. Mike tells his story about how they met, and the instrument Taku eventually made for him.