So Long Pop.

After a long battle with cancer, my Father, Orlando Dominic Cambio, a.k.a. Champ, a.k.a. Fred, passed away on February 11th. He spent his last month in hospice, at his home, with is family providing much of the care. Three days before he died, he and my mom celebrated their 46th wedding anniversary.

My father was a brilliant man. He spent most of his life working as a mechanical engineer. He had 14 patents granted in his name and another 7 which were granted in the name of companies he had developed them for.

He always said that an engineer who didn't know how to use a hammer or a wrench wasn't worth much. He practiced what he preached. He was a great mechanic, cutting his teeth on his first car, a Model A Ford, at the age of 12. He built a few hot rods in his teens and twenties before getting his engineering degree. He always worked on his own cars to keep his mechanical mind sharp. I remember when I was a teenager, he disassembled a Fiat transmission, cleaned it, replaced some worn bearings and put the whole thing back together again without ever looking at a manual.

When I was a kid, my folks bought an old dairy farm. My dad refurbished the whole place, and in the process honed his skills as a carpenter, mason, plasterer, plumber, electrician, and architect. When I was working as a carpenter, I remember being impressed with his abilities as a self taught trim carpenter, not to mention the fact that he had shaped many of the mouldings and trims in our home.

My folks were a little to old to be hippies and went back to the land before it was a movement. In addition to four kids, they raised chickens, ducks, geese, lambs, steer, a few ponies and a couple of horses. He kept bees and we made cider in the Fall. It was a great way to grow up and I'm grateful that my folks had the courage and abilities to make that leap.

I should also add that, with four young kids in the home, my father made the very bold move of becoming self employed. He worked as a consultant for over 30 years. He could have made a much more comfortable living had he stayed with one of the companies that he had worked for, but it was more important for him to spend time with his family.

My father was proud that I eventually ended up making guitars. He always liked the fact that I played music, though I'm not sure he could relate to it. He could relate to working with your hands, building something that was well thought out and honing your skills as a craftsman. I had the good fortune of working with him on making the tailpieces that I'm using now. If it hadn't been for his contributions, I never would have been able to pull it off. I remember taking the plans that he had drawn for the tailpiece to the machine shop that made the die. Four machinists surrounded me and asked, "Who did your plans?" I wasn't sure what they were getting at so I asked, "Why, is there a problem?". "Not at all. They're beautiful," was their reply.

My dad was the tech guru of the family and the day after he passed away, my computer died. I had lost all of my photos, business records, email contacts etc. After getting over the major frustration that this entailed, I realized that he had taken the hard drive with him so that his Luddite son would be forced to get a little more tech savvy. With the help of my brothers and a couple friends, I was able to recover the lost files, replace the hard drive, reload the drivers and get the computer up and running again. In two short weeks I finally feel a little bit of competence when it comes to computers.

I can't say enough about my Dad. He was a really great man. Never talked down to anyone, never gossiped. For the most part he was very quiet, and when he did say something, his words were very measured and they cut to the chase. He provided all of his kids and grand kids an example to live by.

So long Pop. And Thanks.

Finish

I've been in the process of finishing guitars and have been thinking a lot about finishes lately, so I thought it would be appropriate to write a little on the subject. I'll try not to get too geeky or technical.

Finishing is the most tedious part of the guitar building process and I'd consider it the most frustrating. It seems like, at any moment, things could go terribly wrong. That's one way to look at it. You can also look at it as the most rewarding as things seem to come to life. The finish brings out the grain and figure of the wood and adds depth and character.

There are all kinds of finishes on the market today and most guitar makers use types that they spray on. Some use water based finishes, some used catalyzed lacquers, some of the folks who build traditional style instruments use nitro cellulose lacquer. Nitro Cellulose lacquer became popular in the 30's and remained the main finish through the 1980's. It goes on very nicely and each coat melts into the next. It flows out nicely and gives good color to the work. The downsides are that it cracks over time and it is extremely toxic and flammable. I have used lacquer in the past but have stopped, mainly because it makes me physically ill and I don't want to have anything that is that combustible in the shop. I also don't want to blow the exhaust fumes all over my neighborhood.

I'm always trying to figure out the ways that the old guys did things, and finishing is no different. From working on a wide variety of pre 1935 guitars, it seems like most of the old builders used varnishes or shellac. These finishes were applied either with a brush, or by a process called French polishing (which is a lot like spit shining a shoe).

Shellac is a resin which is secreted by a bug called a lac beetle. Folks in India and Thailand collect that resin and process it and turn it into flakes. The flakes come in a variety of colors, ranging from a very blond amber to a brown orange. The flakes are dissolved in alcohol and that is what is used as a finish. Shellac is great for a variety of reasons. First off, it is completely non toxic (I usually add the flakes to 190 proof vodka, Everclear). Second, it provides wonderful color to your work. It can turn a fish belly white spruce top into a beautiful pumpkin color and make things look instantly old. Third, it dries very quickly and is easy to apply and work with. Finally, it is very easy to repair, as long as you know what you're doing.

The downside to shellac is that it doesn't hold up to water. My response to this downside used to be, "Don't get your guitar wet." I have since learned that some folk's sweat can cause the shellac to get a little rough, and occasionally you are caught in a rainstorm, in a foreign country, with a guitar, and despite the fact that it's in a case, it can still get wet and the finish can get damaged. It can also be difficult to find the materials needed to repair a shellac based finish in a foreign country. How do I know this? It's a long story and I'm not going to get into it now.

Shellac does eventually harden and become more resistant to alcohol and water, but that takes a very long time. Like 20 years.

Varnishes come in two different kinds, spirit based and oil based. Spirit refers to alcohol and technically speaking, shellac is a spirit based varnish. Usually though spirit varnishes are shellac based with other resins added to them to make them more flexible, and heat or water resistant. Spirit varnishes can be applied with a brush or by French polishing. They dry very quickly and you can apply several coats in a short period.

Oil based varnishes are not as quick to dry as spirit based varnishes. As a result they need to be applied with a brush (some folks apply them with a spray gun), and more time is needed between coats. The up side to this is that the varnish flows very nicely and it also provides more protection than a spirit based varnish.

For a long time I French polished my guitars, first with straight shellac, then spirit based varnishes. This was very time consuming but it was perfect for working in a small shop with no ventilation and the results were terrific. As I gained more experience, I started looking into different options that provided a little more protection. I briefly used lacquer, but as I said, it made me sick and I didn't like the thought of using something that toxic.

I've always been curious about varnishes but there is very little information out there on varnishes and the whole subject is very intimidating. I had heard about some guitar makers using "varnish", but upon further inquiries realized that they were actually using polyurethane. I have never been crazy about polyurethane, the depth and color of the finish doesn't appeal to me, neither does that fact that if you sand through a coat, you get "witness lines".

I started to talk to some of the mandolin builders who use varnishes. Both Don MacRostie and Lynn Dudenbostel were extremely helpful on this front. Both Don and Lynn recommended alkyd resin oil based varnishes. Don sprayed his, Lynn used a brush. I should add that I did my first instrument work when I was 19. I rebuilt an upright bass with an old violin maker. When it came time to finish the bass, he recommended that I use Pratt and Lambert #38,an alkyd resin varnish. I did a competent job on the bass and it has held up through all sorts of conditions, playing on the street, in touring bands and now it is exposed to all my kids can dish out. It's held up wonderfully. It's funny to thing that after all that experience and research I've come full circle.

I had read somewhere along the line that the folks at Gibson used to use oil based varnishes, applying several coats, and then French polishing shellac over the top. I started trying this technique out and it works beautifully. The shellac adds to the depth of the varnish, it goes on really quickly and builds up a beautiful shine. So currently that is what is working best for me.

So, for all of you out there who are guitar builders, either professional or hobbyists, I encourage you to give varnish a try. It's not nearly as difficult as it seems and you don't have to wear a space suit to brush it on. In most cases you can get some good stuff at the local hardware store, and you can't match the beauty of it. If you have any questions, send me an email and I'll try to answer them.

New Craig Ventresco CD

I'm always excited when I hear that my friend Craig Ventresco has released a new recording as he is one of my all time favorite guitar players. Imagine my excitement to hear that his latest CD, "Craig Ventresco Plays the Guitar", features a guitar I made for him a year ago. Finally a chance to hear him put it through the paces!

Craig is probably best known for playing guitar on the soundtrack to the film Crumb. He should be known for being one of the most talented guitar players in the States, playing in a traditional vein, but in a style that is all his own. He's a really fantastic player and I regard him as highly as the greats like Blind Blake and Lemon Jefferson

Craig's past recordings have focused on Ragtime and popular music from the early 1900's. His latest "Craig Ventresco Plays the Guitar" focuses on classic blues and jazz. Besides the guitar tracks Craig plays ukelele on a couple, and one features Meredith Axelrod on vocals.

It's a great CD and I encourage everybody to get a copy. Drop Craig a line at his website www.craigventresco.com.

Here's a video of Craig and Meredith performing Terrible Murder Blues at the West Coast Ragtime Festival.

Guitar Ad

I've always been fascinated by old instrument catalogs and ads, and have wanted to create something similar for the guitars that I've made. There were several challenges that stood in the way of the project, first I suppose was making all the guitars and then getting pictures of them. Second was finding someone to take on the task, as I'm not that savvy when it comes to that type of thing. My buddy Jimmy Burns from Vermont, in addition to being an ace fiddler, is also a talented graphic artist who understood what I was trying to do.

Jim and I did a lot of work to get it together. I had to track down a all the different models and get good quality pictures of them. I also had to buckle down and write all the text. In some cases I took language right out of the old catalogs. I tried to capture the language and spirit of the time.

Jim thumbed through a lot of old catalgs to get ideas for the layout. He converted all the photos to line drawings. His layout really managed to capture the look and feel that I was after. He did a bang up job and I couldn't be happier with the final product.

I'm currently looking at different printing options, so I can't even say that it's hot off the presses at this point.

Thanks a million Jim!

Eventful summer

I've had a full and busy summer and haven't been too good about updating the blog. Sorry about that. I made a conscious decision at the beginning of the summer that I was going to try to make the most of it, spend a lot of time with my family and outdoors. Now that the weather is turning colder and the days are getting shorter, I'm sure I'll be better about sitting down to record what's been going on.

I usually spend a fair amount of time traveling around during the summer. I try to get to a couple old time music festivals each year and get as much playing in as possible. The music festivals that I tend to go to usually focus on old time hillbilly music. The festivals are participatory in nature and the attendees are the ones who provide the music. The focus isn't on a stage, or on outside acts. The folks who go to the festival are the entertainment. People set up camps and sit around and play music and catch up with their friends. When they're not playing, they're usually walking around listening to music at the other camps. It's a foreign concept to a lot of folks who are into Country Blues, but it's a really great way for people to get together and play music.

I'm not really a hardcore old time nut. I consider myself more of a songster. You can only play tunes for so long until it gets boring and somebody needs to start singing. As a result, I usually congregate with people of like mind, who appreciate good tunes but need to have some ballads or blues in the mix.

My favorite festival of all the ones that I've been to is the Harry Smith Frolic in Greenfield, Mass. The Frolic was started by a group of folks in Northern Massachusetts and Southern Vermont who felt that people who play old time music should listen to the recordings of artists from the 1920's and 30's who played the music, rather than listening to modern musician's interpretations of this music. The have brought a lot of new people into their community and folks up there are making some of the best music I've heard.

In addition to being a great music festival, the Harry Smith Frolic is a celebration of the Anthology of American Folk Music. The Anthology was a six album set of music originally released in 1952. Much has been made of it since its reissue in the late 90's and I think that all that hub bub sort of made me shy away from it. The fact is, Harry Smith did a pretty amazing job of presenting an accurate snapshot of early American vernacular music. I'm not going to go into it here, but in short it's a great collection and everybody should have a copy.

While most festivals tend to focus on old time fiddle music, the Frolic equally values ballad singers and blues players. There is a pretty eclectic bunch of performers for the relatively small number of people who attend. One of the highlights of the festival is a reenactment of one of the three volumes of the Anthology, which occurs on midnight of the second night of the festival. For the first seven years of the Frolic, folks performed Vol. 1, Ballads. This year the decision was made to perform Vol. 3, Songs.


A guitar maker is much like any other trades person in that they don't often get to reap the rewards of their craft. In other words, I don't usually have one of my own guitars. When I do have one, I usually end up selling it during a lean time. When I go to festivals, I don't usually have anything to show for myself. Sometimes there are folks there who have an instrument that I've made, but I'm not usually one of them. I decided that this year I was going to make a guitar at the beginning of the season that I could haul around to the different festivals and not be shy about letting folks play it. I didn't want to put a huge investment into the guitar and I wanted to build it as quickly as possible.

I decided that I would make a smaller model as it would be easier for traveling. I chose the Annunziata as it is sort of a combination between the Loretta and Erma and I thought it would get the most sound out of a small body. For materials, I decided to use wood that people had given me, or things that, for one reason or another, I couldn't use on a custom guitar, but were too good not to use. I had a nice set of koa that my good friend Federico Sheppard gave me, so I decided to use that for the back and sides. I had a nice old set of German spruce that was too small to use on anything but a concert sized guitar, so that was going to be the top. My buddy Federico had also gifted me with some Madagascar rosewood that I wanted to try for the fingerboard and bridge (he is a really good friend and super generous guy).

I kept it simple using only a black/white/ black line for the rosette and purfling. I bound it with some nice flamed maple, on the top only, and skipped a center strip on the back. The neck blank was one I had sitting around the shop that had a knot on the back of the peghead. I put a rosewood veneer on the front and back of the peghead and it was no longer an issue. I decided to do the Neapolitan headstock and whale tail bridge to dress it up a little bit. I was out of pearl dots, so I cut some quick diamonds for fret markers. I gave it a pretty quick French polished varnish finish and had it strung up nine days after I initially joined the plates. I probably could have done it in seven, but I have a family and I don't work in the shop on weekends.

The finished product is a really sweet little guitar. I've been playing on it all summer and it has really opened up. It's been great to have one of my guitars to bang on and not worry about. It's also been great being able to pass it off to friends for them to try out. It's had quite a bit of playing done on it in it's relatively short life. I'm looking forward to seeing how it continues to develop, and where it ends up.

9 String

A few years ago my friend Mike Ammons and I were looking at the liner notes to the very excellent CD of minstrel tunes, Good For What Ails You, on the Old Hat label, and Mike asked me "What kind of guitar is that?", commenting on a picture of Daddy Stovepipe. I hadn't really looked at the picture that closely as there are plenty of odd things going on, a musician in a top hat posing next to a recording horn. We got out the magnifying glass and saw that the odd shaped headstock had 9 strings, three single strings on the bass side and three courses (six strings) on the treble side. Neither of us had heard of a nine string before, and I thought it would be a fun side project.

I could tell from the photo that the guitar was an inexpensive Chicago made guitar, smaller in size. Since I didn't have any orders for a nine string, and seeing as it didn't seem likely that I'd get one, I decided to start by making a neck and fitting it to an existing body. I had a couple candidates, the leader being an old Regal whose neck had been boogered up by someone along the line. The Regal was an all birch Hawaiian model. The top was in pretty rough shape, so I decided that it would probably be best to replace that while I was at it. I know what you're saying, "Why didn't you just start from scratch?" At a certain point I think I asked myself the same question, but these things tend to snowball, and when you're obsessed and have to get something out of your system, you don't always make the most prudent decisions.

I put on a new spruce top and made a poplar neck for the guitar. Lots of folks don't take poplar seriously as a neck material, but as I've said before and I'll say again, it's great stuff. I've made several poplar necks and have never had issues with them. The 80 year old guitar that I play on a regular basis has a poplar neck with no reinforcement and it's as straight as the day it was made. I'd choose it over maple any day of the week. I made a rosewood fingerboard and a six pin pyramid bridge.

The guitar had a short scale of 24 5/8", so I put on light gauge strings (doubling the 1st and 2nd course with an octave on the third) and tuned it up to E. I was pretty happy with the way that it turned out. Definitely a lot of fun to play. I sent it around to some friends, one of whom, John Miller, decided that he would rather keep it than send it off, so we worked out a deal. I was very happy to see it go to such a fantastic player.


As these things tend to work, I eventually got an email from someone who inquired about the nine string. Gary Selufsky, who proved to be one of my bravest customers, put in an order for a nine string and decided to have fun with it. I was very excited that Gary decided to get maple back and sides and a poplar neck. He also decided to add a Kay Kraft type bridge, funky pick guard, bound headstock and fingerboard. I was really looking forward to building an uptown version of the guitar.

The guitar turned out great. After some experimentation with strings, we decided that the it was happiest with a set of extra light strings, doubled on the 1st, 2nd and 3rd courses.
I was very happy to hear that Gary and John met at the Country Blues Week at the Port Townsend Washington and were able to compare their nine strings. My only regret is that I wasn't there to hear the ensuing madness.

Celebrating Five Years of Self Employment

This weekend I celebrated five years of making my living solely as a guitar maker. I've been making and repairing them for much longer than that, but I made the leap from a nice cozy, secure construction job, for a life as a luthier. From a financial standpoint, it probably wasn't the smartest move in the world, but I'm healthier and happier for it and I've been able to pursue my passion. The task would not have been possible without the many great customers that I've had, the musicians who play my guitars, my consigliere Frank Basile and, most importantly, my very loving and patient wife Lily who has stood by me during all of it, encouraging me and advising me along the way. Thank you to all.
As part of the celebration my old friend Paul Geremia came to visit and play a gig. I don't know how long I've known Paul for, but I've been going to see him play for quite some time and he was very instrumental in developing my interest in the 12 string guitar, as he is one of the only people who has been playing an old style, long scale 12 string for his entire career which has spanned over 40 years. Paul is a real road warrior. He plays all over the country at venues ranging from small coffeehouses, to blues festivals, to Prarie Home Companion. He drives every inch of the way, putting on miles like a long haul trucker.
Paul comes through Madison about twice a year and usually plays a gig at the local cofeehouse. He stays at our house and we usually end up doing some setup work on his 12 string, adjusting it for seasonal changes or applying some French polish where the finish has been worn away by his right hand. He's had his Fraulini for 4 1/2 years now and has probably played it every single day of that time. As a result it is an extremely live and open instrument. When I was making it for him he told me to build it as lightly as I dared, which I did, but the real reason it sounds so great is that it gets daily use, by one of the best people in the business. An instrument is happiest when it is played.
The gig was at Mother Fool's Coffee House, a local institution that is the best place in town for acoustic shows. I opened the show and played a variety of songs spanning from Reverend Alfred Karnes to Cryin Sam Collins. I always like to open for Paul because then he comes out swinging, showing everybody why he has the reputation that he does. He was fantastic! My favorite tunes were Silver City Bound and Meet Me in the Bottom. Of course I'm biased because he plays both of those on 12 string (his 30's Gibson J-35 sounded pretty good too). It's always great to sit back and listen to a master play, especially when it's an instrument that you've made. I'll look forward to the next time he comes.