I’m delighted to have Gérard Audirac from France.
Q1. Could you please tell us a little about your luthiery and its history?
When I settled down, officially declared to the Chamber of Trades, I had never made an entire guitar in my life.
I was young and innocent and believed that this activity was a trade of which I knew nothing, I believed that there was knowledge, given the reputation of certain luthiers and the prices which were practiced.
I started by making study guitars on my own, for 20 years.
At the end of all this time, I noticed that this activity was not a constituted profession (I am slow). Why? Basically, this activity is not based on any knowledge, i.e. it is not based on any scientific data (acoustics, mechanics, etc.) the implementation procedure is specific to everyone and everyone invents their own method and, finally, there is no teaching worthy of the name.
Moreover, I have been able to observe over time that the success rate among the most reputable and skilful did not exceed 40%, an incredibly dizzying observation.
It was at this point in my life that I started to do acoustic research, because I felt a visceral need to understand what I was doing and to respect my clientele by not offering anything to guitarists. with random results.
It took me well, to orient myself in research allowed me, in May of this year, to complete 18 years of research in acoustics and in parallel 6 years of development with composite materials.
Here's the story...
Q2. Please describe your idea of a good sounding guitar, and what you do to achieve it?
What I do comes from my research and my discoveries.
I fundamentally questioned the traditional conception of the guitar because it has a multitude of errors that handicap it.
The bridge is never centered on the vibrating part of the soundboard, which unbalances it and limits its performance; to overcome this drawback, it is necessary to put the mouth elsewhere and reassemble the crosspiece which was under the mouth so that the bridge is in the middle of the distance between the crosspiece and the cleat of the joint of the sides.
The table undergoes a natural deformation due to the tension of the strings on the bridge which itself exerts a lever on the table, this disadvantage can be solved easily: it is enough to debit 3 bars of fans in the opposite direction of the natural deformation of the table, these bars will be glued under pressure and the table will thus be prestressed; not only will this deformation be eliminated and we will have a better balance, but we will also create a phenomenal reserve of energy.
Let's talk about the size of the mouth, always too small in the traditional invoice: when, during the vibration, the table goes down, it compresses the air inside the chest; this compression creates a force which opposes the movement of the table: the consequence is a loss of volume and a braking of the sustain... for my part I make 2 mouths, one which serves as a cutaway and another which serves back very pleasant for the guitarist.
Q3. Please tell us about your idea of improving playability, and what you do to achieve it?
I think a lot of the answers are contained in Q2.
Q4. Please tell us your opinion about the traditional finishing method (French polish) and new methods (lacquer, catalysed finishing, etc).
School quarrels about varnishes are null and void, it's a false debate without interest, I varnish with a spray gun with compressed air and it works very well.
Q5. Please tell us your opinion regarding shorter-scale guitars such as 640, 628 and 615mm in terms of playability, design, sound quality and volume. Is there an increasing need to cater to smaller-handed or female players?
I worked with research and development for 2 years on a tuning fork of 630 the results are very disappointing because there is a lot of acoustic loss and the guitar tends to curl easily, because of the strings under tension. No interest.
Q6. Many readers say they end up being very confused after trying many guitars. Could you give us some advice on how to examine the guitars' sound quality and playability at a shop or luthier, from the guitar-maker's point of view?
A store is the worst place to try a guitar often because of the other guitars on display in that store whose strings resonate sympathetically. I understand the confusion of a number of guitarists when trying out guitars, many just screw up.
The best conditions are as follows...
THERE is only a comparative test, trying a guitar in absolute terms makes no sense, in this case you like it or you don't, it's a matter of taste.
It is better to be two: one who plays, the other who listens and reverse the roles.
Playing very short phrases and comparing between instruments, many guitarists play too long and cannot memorize everything they play, resulting in exhaustion and confusion.
Highlight the characteristics of the sound, power, note duration, percussion, harmonic richness, bass/treble balance, accuracy.
Q7. Do you offer any 'after-sales' service to customers - particularly customers who are nervous about making a substantial investment?
I have never taken my customers hostage, my guitars are guaranteed for life except accident of course.
Q8. How does the increasing rarity of some woods, rosewood for example, impact on your methods, and the quality of the end product?
I have, during my career (more than 4000 guitars manufactured,) tried all possible woods. After all these tests I stopped on species that have proven their reliability and efficiency.
Indian rosewood for the back and sides, ebony fingerboard, cedar neck from Honduras, cedar top, spruce, composite.
The so-called rarefaction of exotic woods is a manipulation of suppliers to justify the price increase.
Q9. How do you see the future of this beautiful tradition in the 21st century?
Sorry to disappoint you but I don't see any tradition in this story?
The (modern) guitar was born around 1880 with Antonio Thorez who gave it the current dimensions, but nothing more.
Since then, everyone reproduces as best they can an object called a guitar which must correspond symbolically to the mental image that everyone has of it, especially since there is no knowledge transmitted since overall we are all self-taught.
As for the future of the profession of luthier, I do not bode well, there are too many offers compared to the reality of the demand and then I have crossed paths all my life and still now at fairs and exposure too many crooks and incompetent people, there is no fraternity between luthiers there are only enemies.
