I've been building for 10 years. Started with a 3-week course in Wellington, New Zealand with Master Luthier David Freeman (
http://www.timelessinstruments.com/, assisted by Kiwi luthier-singer-songwriter Paddy Burgin (
http://www.burginguitars.co.nz/). I was hooked -- knew this is what I wanted to do as I eased out of my science career as a forest tree geneticist. Of course, being down in the antipodes, opportunities for continuing ed were a bit scarce, so I rummaged through every book I could find, various online course materials, and of course here at OLF.
Now, back "home" in Canada, it's much easier to find various training opportunities, and for my 10th anniversary I decided to treat myself to something intensive. I settled on a 2-day Master Class session with well-known builder Kent Carlos Everett (
http://www.everettguitars.com/masterclass.html. With over 800 guitars under his belt and a solid career in the business, he's got credibility as a builder, and I'd already seen some of his teaching style -- he's thorough, unpretentious and disciplined as a teacher. You've probably seen Carlos online, featured in some of Robbie O'Brien's productions (worth looking into if you haven't already). I knew that his style of building was quite different from mine -- one of the reasons I was attracted to his course -- but at no time was I concerned about him trashing my approach. Carlos recognises that there are many ways to build a fine guitar and good builders can learn something from every builder they interact with.
This is definitely NOT a course for beginners-- the alumni list will likely convey that. Carlos actually puts you through an application process to verify that you have the experience and attitude to benefit from the course style and content. It's designed as an intensive one-on-one session over 2 very full days, delving into the advanced details of Carlos' process. And there's a bunch of preparation -- for both teacher and student. While the basic format and syllabus is essentially the same for all students, I completed a detailed questionnaire to give Carlos a clear idea of where I was coming from, my experience, expectations and high-priority focus areas. He then put a lot of effort into customizing the content just for me. Having done university-level teaching myself, I know the effort it takes to prepare a good lesson plan and pace yourself to complete everything -- Carlos is a natural.
A student is expected to have reviewed his DVD material on voicing and setup, and to bring along a 90% complete guitar top for final voicing, as well as an example of your finished work for critique. I arrived in Atlanta by plane from Montreal -- thank you Delta for carrying my guitar in the closet! Took a shuttle up to Woodstock where Carlos picked me up. Supper with Carlos and Jeannie -- we immediately hit it off. Both of us are petrol heads and dog lovers. Lots of experiences to share over supper, then overnight in their guest room.
Next morning, we were up early, reviewed the format over breakfast, then headed down to the shop. Most folks will immediately notice that this shop is not filled with the latest and greatest jigs and tools. The machinery is basic and the jigs are purpose built by the luthier -- not much stuff from the usual lutherie supply houses. For the next two days, we stepped through every part of the building process, with details flowing at a tremendous clip. Carlos had bodies and necks at various stages of construction and a few special-built teaching models. I was making notes like crazy and photographing everything in sight. After the first day, we settled into the living room, played each others' guitars and shared thoughts on art, music and the meaning of life. We talked about the business of guitarmaking and the various reasons that people get into it. A little wine and philosophy flowed.
Carlos loves to see the eyes light up when a student sees something that really resonates -- it happens frequently -- the "ah-hah moments", as he refers to them. I came back with new ideas, new skills, and confidence that I could make changes to my building style with success. I've already made changes to my shop and the next two guitars are off to a different start. And, I made great friend. We were sharing to the moment that Carlos dropped me back at the airport shuttle. I arrived home knackered but smiling.
Thank you, Carlos -- the Master Class was everything I was hoping for ... and so much more. And thank you Jeannie for putting up with me in your home -- you were great!
BTW: the guitar I took to Georgia is picture below -- it's my "Outback" project with Australian tonewoods. The critique was delivered by email the week after I got home. It was thorough -- complimentary and critical in helpful ways -- it's already had an influence on my new work.
Attachment:
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