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The Responsive Guitar 2-book Boxed Set, by Ervin Somogyi
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(Book). This limited edition silver-embossed, facsimile-autographed, slipcase holds both books. These books are essential for anyone who is interested in a comprehensive account of the modern guitar, and how a highly responsive guitar is made. They offer info from one of the most-revered luthiers of our times. No publication has ever presented trade secrets and practical information to truly change the way a person makes or appreciates the steel-stringed guitar. Ervin Somogyi is a Hungarian-born master luthier whose guitars are renowned for their responsiveness and tone trademarks for a great guitar. After almost five decades of making this instrument, teaching and writing about the development and construction of the guitar, Somogyi reveals the methods, techniques and philosophy behind his legendary instruments. The Responsive Guitar is about physics, dynamics, acoustics and construction of the guitar. It's about the mechanics of tone; what materials to build with, when to add or remove wood for maximum benefit, and why those techniques work. Somogyi explains in exquisite detail how the guitar makes sound, and what musicians and luthiers need to know in order to appreciate a really well-made guitar. This book sets the foundation for the matching volume Making the Responsive Guitar . Making the Responsive Guitar is the second volume on a two-volume set of books that set out the principles and methods of building fine hand-made guitars. Where Volume 1 sets up the knowledge, this book is about how to build a guitar, from the very first step to the last.
- Sales Rank: #164987 in Books
- Published on: 2011-03-01
- Original language: English
- Number of items: 1
- Dimensions: 13.75" h x 2.90" w x 9.50" l, 8.55 pounds
- Binding: Hardcover
- 624 pages
Most helpful customer reviews
15 of 16 people found the following review helpful.
Essential content, muscular English, INEXPENSIVE
By John Link
I've had these two books for just a few weeks and have read everything at least twice, many chapters many more times than that. Each time I go through I find something new. They only seem expensive. For the person who wants to move beyond merely producing a well made variation of a factory guitar, the information in these books can put you 10 or 15 years ahead of where you are now in your quest. What's that worth on a per year basis? They seem under priced when I think of them this way.
They are also useful for players and collectors who wish to expand their understanding of how the instrument works. To pick one example from many instances, Mr. Somogyi will tell you how a blues guitar benefits from a certain bracing pattern while a finger picked guitar works better using a different design.
The author is a master builder who has earned his place in the history of lutherie, yet he openly discusses methods that are alternatives to the ones he uses, right alongside his own approach. When one knows as much as Mr. Somogyi, there is no need to be dogmatic. Likewise, when one writes as well as Mr. Somogyi, there is no obfuscation of complex discussions, yet neither does he talk down to the reader. He treats his readers with respect and offers direct, plain-English access to what he has learned from his many years of rather profound work. At times, he demonstrates great love for the reader as well.
The books are beautifully made too. The paper is substantial, the photographs excellent, the layout elegant, all of which make them both easy and pleasurable to read. Contrary to one opinion expressed here, Somogyi did not need better advice about how to write a book. He set out to make the best books he could make and succeeded to the extent anyone who wants to do their best succeeds.
November 27, 2012: I've had the books for many months now. I added the word "INEXPENSIVE" to my review title for a very plain reason: These books contain more useful information than all the other lutherie books in my collection combined. The total cost of the other books was more than these two. Hence, using my "bang for the buck" scale, Somogyi's books cost the least.
I also recommend his DVD for anyone seeking to understand his "secret". The secret is there, almost naked, when he taps out a top that he tells the audience is destined to become the top of a finished Somogyi guitar. It is so openly presented some my miss its importance. "Tone" is the result of several entities: species of soundboard, thickness, grains per inch, brace design, choice and configuration of bracewood, surface area of top, location and size of soundhole, and so on. When combined, each specific mix contributes to the specific tone and responsiveness of a specific top. There is no single element that can be isolated from the others and declared "the secret", which frustrates many who follow Somogyi. A member of the audience wants to see the braces. Somogyi refuses. I'd bet dollars to donuts what is behind the "mystery top" is some variation of the many Somogyi tops photographed in the books. That is, it looked more or less like most other X-Braced tops made by advanced luthiers today. The braces are but one ingredient of many. Somogyi had already revealed his "secret" when he tapped out the top into a very high quality microphone recording the session. It is a good idea to play back that short segment over and over until you have a solid sense of the sound he generously offers to anyone who wishes to listen. Unlike factory guitars, guitars at his level are not the result of following specifications as closely as possible. While specs are a part of the process - and he offers many concrete, measured suggestions, such as top thickness, brace configurations, etc. - they are the starting point, not the final destination. That is reached in the adjusting process known as "voicing". Until you hear and internalize the sound of a great raw top, you are not voicing but rather removing wood and hoping.
That is, when a luthier builds a top he or she must be able to achieve and recognize a certain sound before the box is closed, finished, neck and strings attached, then finally played. There is little you can alter at that stage. However, when the top is still "raw" you can make changes to its "voice". The Somogyi DVD reveals in a very specific way what that "voice" sounds like when voicing is completed. Buy the books if you want to see what his braces look like, if you want to know his ball park specs, the woods he uses, the jigs, the molds, how to French Polish, determine neck set angle, join neck and body, bridge height, saddle construction, etc. Buy the books if you want to understand how the various parts can be altered and the likely outcomes of specific alterations and their combinations. Buy the DVD if you want to hear what the whole package - in the raw - ultimately sounds like. Buy them all if guitar making is important to you.
I also want to address whether these are beginner's books. The sheer volume of the discussion may lead some to think they are not "practical" for beginners. Certainly, they are a large meal that no one can digest in a few settings, whether beginner or expert. But if you are a serious beginner, they are extremely important, because they are utterly basic. They cover the foundation of what is of necessity a long journey. I have made some "good" guitars. If these books and DVD had been available when I started, they would have been much better, including the very first one. My other books would have been more useful to me if I had known the foundation he offers. If it is your first guitar you will still need something very specific, like the David Russell Young book, which is clearly written and not much money if you look for a used copy on Amazon. But if you don't alter Young's instructions with what you can learn and hear from the Somogyi material, you will get a good guitar that is overbuilt and restrained, though long on playability, and will sound as good or better than most factory guitars. But it won't be as good as it could be if you had digested just a little of what Somogyi offers.
Assuming your shop has most of the tools needed, there is still considerable money to be invested in quality materials for just one guitar, not to mention the immense about of time it takes to do the first one well from a technical point of view. We routinely pay $75 per hour to get our cars fixed. Somogyi's materials cost pennies per hour of use, and will pay off with an astonishing guitar, even if it is your first effort. You would do well to follow Young's advice to keep it simple looking because decoration contributes nothing to sound and decoration sloppily done hurts, rather than helps, the look, while consuming hours of time. But I would not worry about avoiding rosewood (as Young suggests). Instead, use quartersawn Indian rosewood, which is expensive, but not much more expensive than good quality mahogany. It is very stable and easy to work and you will get a more "live" instrument. Both authors suggest a laminated neck you carve yourself, but a CNC pre carved neck would do fine, especially if you avoid the difficult to fit dovetail joint. If you read nothing else in Somoygi, read his discussion of tops in both books and listen to his finished top in the DVD. Follow his suggestions and with a modicum of care, your first guitar should sound better than any factory guitar you can buy and many hand made instruments.
Whether you are a beginner or expert, never forget that the best instruments are achieved by paying attention to the basics. That is where great sound is born. That is what Somogyi's books and DVD cover.
10 of 11 people found the following review helpful.
A masterwork
By J. A. Whiteside
I purchased this book personally from the author over a year ago and was, and continue to be, absolutely delighted with it. This is a must-have book for the serious acoustic steel-string guitar maker. It is NOT an introductory how-to book. It is rather the masterwork of one of the greatest luthiers of our time, summarizing a life-time of experience. We live in the golden age of guitar-making; there are more luthiers today than ever. The field (at least for steel string guitars) is vibrant and creative, with many different schools of thought, building, and design. This book is the personal perspective of one of the most successful, respected, and yes sometimes controversial, guitar makers alive today.
Besides a wealth of information on theory, design, and construction, there is, underlying, a consistent philosophical thread throughout. This distinguishes it from any merely mechananistic "how to" book on guitar making, or virtually any other craft. The author's genius is that he communicates this philosophy, not directly or ponderously at all; its just sort of there, embedded in his lively and highly readable writing.
3 of 3 people found the following review helpful.
The nitty-gritty of guitar making
By Phildo77
These books are full of information for the more serious guitar builder. It would suit serious beginners and those who are more experienced also. I have started reading the second book first (Making the responsive Guitar), as I am building my first guitar at the moment. I was blown away by the amount of equipment that Ervin has in his shop...more than I think most people would have. He has a wall of about 15 laminate trimmers, I guess each with a different bit! However, great to see how this master goes about his work. Definitely worth the money. Especially when I have seen these books for sale in Australia for $650, which is ridiculous and shameful. I highly recommend, but like all guitar building books, you'll have your own way of doing things, or don't have the same machinery etc. Great exposure to Ervin's methods.
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