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richard mermer guitars
Description
Richard Mermer Guitars:
Rich has been designing, building, and repairing fretted string instruments since 1983, after completing his studies at the Roberto-Venn School of Luthiery in Phoenix, Arizona. While attending the school, Rich was greatly influenced by master craftsman and instructor William Eaton (refer to Acoustic Guitar Magazine, N0.61, pp.64-67). It was from Bill, that Rich learned to let his creative juices flow, and not to worry about building "clones" of popular designs.
After leaving Roberto-Venn, Rich acquired additional experience while working for Fretted Instruments International (the parent company to Oscar Schmidt Autoharps and Washburn Guitars) and Philip Kubicki Guitar Technology of Santa Barbara, California.
Rich's shop is not geared towards mass production techniques, although jigs and tooling are certainly used to cut down on the time spent on the more tedious and repetitious steps in the construction process. Rich prefers to build from one to three instruments at a time, and usually completes from 12 - 16 instruments each year. These instruments are handcrafted works of art that are built to the specifications of the client. Rich does keep several instruments available as portfolio/demonstration pieces so that potential clients can experience the quality of his work.
Richs instruments have been featured in 'Guitar 2000: Today's State of the Art, Tomorrow's Innovations' (Acoustic Guitar Magazine, August 1998, Issue 68); and in 'The Holey Grail: Why Leading Guitar Makers Are Rethinking Traditional Soundhole Designs' (Acoustic Guitar Magazine, February 1999, Issue 74). Many artists are using Richs instruments in the studio and in live preformance, including Don Conoscenti, Cyril Pahinui, Brooks Williams, John Alevizakis, and Al Scortino ...
Rich has been designing, building, and repairing fretted string instruments since 1983, after completing his studies at the Roberto-Venn School of Luthiery in Phoenix, Arizona. While attending the school, Rich was greatly influenced by master craftsman and instructor William Eaton (refer to Acoustic Guitar Magazine, N0.61, pp.64-67). It was from Bill, that Rich learned to let his creative juices flow, and not to worry about building "clones" of popular designs.
After leaving Roberto-Venn, Rich acquired additional experience while working for Fretted Instruments International (the parent company to Oscar Schmidt Autoharps and Washburn Guitars) and Philip Kubicki Guitar Technology of Santa Barbara, California.
Rich's shop is not geared towards mass production techniques, although jigs and tooling are certainly used to cut down on the time spent on the more tedious and repetitious steps in the construction process. Rich prefers to build from one to three instruments at a time, and usually completes from 12 - 16 instruments each year. These instruments are handcrafted works of art that are built to the specifications of the client. Rich does keep several instruments available as portfolio/demonstration pieces so that potential clients can experience the quality of his work.
Richs instruments have been featured in 'Guitar 2000: Today's State of the Art, Tomorrow's Innovations' (Acoustic Guitar Magazine, August 1998, Issue 68); and in 'The Holey Grail: Why Leading Guitar Makers Are Rethinking Traditional Soundhole Designs' (Acoustic Guitar Magazine, February 1999, Issue 74). Many artists are using Richs instruments in the studio and in live preformance, including Don Conoscenti, Cyril Pahinui, Brooks Williams, John Alevizakis, and Al Scortino ...
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Feb 3, 2005
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When Juan Luis Cayuela was thirteen years old, he started to help his father at the workshop and he began to learn the profession of Luthier. Since that moment he never stopped his investigations and studies about the flamenco guitar and the classic guitar, putting into practice all the experience acquired in his music studies at the music conservatoire, such as tones, sound waves, tuning, etc.
As guitarrist and luthier, he has achieved beauty in the finish of his guitars, comfort for the guitarrist when he´s playing and a high sonority due to the selection of the materials and the drying of them ...
As guitarrist and luthier, he has achieved beauty in the finish of his guitars, comfort for the guitarrist when he´s playing and a high sonority due to the selection of the materials and the drying of them ...
Category:
2. schecter
Schecter Guitars:
Your imagination is the only thing limiting you to what can be done inside our custom shop. Take a look at some of the guitars dreams where built on ...
Your imagination is the only thing limiting you to what can be done inside our custom shop. Take a look at some of the guitars dreams where built on ...
Category:
3. steinberger
Steinberger Guitars:
Culture of conformity:
From the time the modern electric bass guitar was first developed by Leo Fender in the early 1950's, the basic configuration of solid body, bolt-on neck and enlarged headstock remained the mainstay in bass design for over thirty years, confirming Leo Fender's original vision.
Since the introduction of that breakthrough design, the Fender Precision bass, the majority of engineering enhancements had usually resulted in relatively minor permutations of this classic instrument design.
However, in spite of the dwindling supply of quality tonewoods and the concurrent development of new, high-tech materials & manufacturing techniques, modern instrument makers have tended to resist investigating possible avenues of improvement. Though understandable, this tendency has meant the continued degradation of tonewood stocks and a general avoidance of originality. In fact things regressed a bit in the '90's. With the exception of the Parker Fly, the most valid term to describe the music instrument industry was 'retro-obsessed' through the most recent decade.
A different perspective:
In the late 1970's, an industrial designer with a background in sculpture and furniture design came across a new design challenge, one which also crossed into the fields of engineering and manufacture.
In the mid-seventies, Ned Steinberger shared space with bass luthier Stuart Spector in a Brooklyn, NY woodworking co-op. Spector approached Steinberger with the idea of looking for a new electric bass design. Applying himself to the problem, Steinberger developed a design classic - the Spector NS. This shape which has gone on to become one of the most successful modern bass designs, and later adopted and enhanced by the German bass manufacturer Warwick. Perhaps more importantly, Steinberger also became intrigued by several key engineering problems relating to bass guitar design, manufacture, and use.
Steinberger approached this engineering problem from a new perspective - one not beholden to the established approaches of the past ...
Culture of conformity:
From the time the modern electric bass guitar was first developed by Leo Fender in the early 1950's, the basic configuration of solid body, bolt-on neck and enlarged headstock remained the mainstay in bass design for over thirty years, confirming Leo Fender's original vision.
Since the introduction of that breakthrough design, the Fender Precision bass, the majority of engineering enhancements had usually resulted in relatively minor permutations of this classic instrument design.
However, in spite of the dwindling supply of quality tonewoods and the concurrent development of new, high-tech materials & manufacturing techniques, modern instrument makers have tended to resist investigating possible avenues of improvement. Though understandable, this tendency has meant the continued degradation of tonewood stocks and a general avoidance of originality. In fact things regressed a bit in the '90's. With the exception of the Parker Fly, the most valid term to describe the music instrument industry was 'retro-obsessed' through the most recent decade.
A different perspective:
In the late 1970's, an industrial designer with a background in sculpture and furniture design came across a new design challenge, one which also crossed into the fields of engineering and manufacture.
In the mid-seventies, Ned Steinberger shared space with bass luthier Stuart Spector in a Brooklyn, NY woodworking co-op. Spector approached Steinberger with the idea of looking for a new electric bass design. Applying himself to the problem, Steinberger developed a design classic - the Spector NS. This shape which has gone on to become one of the most successful modern bass designs, and later adopted and enhanced by the German bass manufacturer Warwick. Perhaps more importantly, Steinberger also became intrigued by several key engineering problems relating to bass guitar design, manufacture, and use.
Steinberger approached this engineering problem from a new perspective - one not beholden to the established approaches of the past ...
Category:
4. crafter
The Company that is now Crafter was founded by HyunKwon Park in April 1972 in the basement of his home, four people working in a 20 square metre area. In that early period, the company produced classical guitars for the Korean domestic market and these quickly earned a good reputation, mainly for their high quality of sound.
The company soon had to move to new, bigger premises in order to build enough guitars to fulfill the demand and, in 1978, it moved again, this time from Seoul to the new area of Yangju-gun.
At that time, the guitars were branded ‘Sungeum’ which means ‘accomplishing the sound’ and this is still a well known brand in the Korean market, today. HyunKwon’s ambition was always to supply instruments to guitar players throughout the world, however, so he then started to make acoustic and electro-acoustic guitars which had more international appeal.
In 1986, in Jae Park, his elder son, also joined the company with HyunKwon Park remaining as chairman. InJae believed that ‘Sungeum’ was too difficult a word for his export market so he decided to create a new brand that would be both easy to remember and convey an appropriate image. He chose the name ‘Crafter’, which has connotations of high quality and also pays tribute to the craftsmen who create the guitars. The Crafter brand is now registered in more than 40 countries throughout the world.
The latest factory, opened in 2000, is a 7,000 square metre building on a 12,500 square metre site. It is both new and modern, enabling them to produce the cleanest instruments whilst keeping to traditional production methods that allow the craftsmen to care for the instruments that they produce. The 140 strong Crafter workforce produced 60,000 instruments in 2001, with a capacity to build far more than that number ...
The company soon had to move to new, bigger premises in order to build enough guitars to fulfill the demand and, in 1978, it moved again, this time from Seoul to the new area of Yangju-gun.
At that time, the guitars were branded ‘Sungeum’ which means ‘accomplishing the sound’ and this is still a well known brand in the Korean market, today. HyunKwon’s ambition was always to supply instruments to guitar players throughout the world, however, so he then started to make acoustic and electro-acoustic guitars which had more international appeal.
In 1986, in Jae Park, his elder son, also joined the company with HyunKwon Park remaining as chairman. InJae believed that ‘Sungeum’ was too difficult a word for his export market so he decided to create a new brand that would be both easy to remember and convey an appropriate image. He chose the name ‘Crafter’, which has connotations of high quality and also pays tribute to the craftsmen who create the guitars. The Crafter brand is now registered in more than 40 countries throughout the world.
The latest factory, opened in 2000, is a 7,000 square metre building on a 12,500 square metre site. It is both new and modern, enabling them to produce the cleanest instruments whilst keeping to traditional production methods that allow the craftsmen to care for the instruments that they produce. The 140 strong Crafter workforce produced 60,000 instruments in 2001, with a capacity to build far more than that number ...
Category:
David Haxton guitars: custom handmade steel-string guitars.
I custom-build fine, handmade guitars for your strumming pleasure, and I also do a bit of repair work on the side. Enter my site for more information about myself, my craft, and my business.
I custom-build fine, handmade guitars for your strumming pleasure, and I also do a bit of repair work on the side. Enter my site for more information about myself, my craft, and my business.
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