Part II. The Luthier's story

1957 D'Angelico
New Yorker

The Oxford English Dictionary defines a luthier as a maker of stringed instruments such as violins or guitars: the word originating from the French for Lute. I assume that the artisan instrument maker of old would turn their her hand to any instrument, depending on its popularity. So in 18th Century France, it was lutes! On the left is a picture of the late, great American luthier, John D'Angelico, in his small workshop. A luthier doesn't need much space, just a good work bench, a place to hang a few guitars and today, unlike in D'Angelico's day, Ray Palfray's workshop has to accommodate computer driven cutting instruments. 

An early Model T assembly
line at the Ford Motor Company

It wasn't long after Henry Ford established the Ford Model T production line in Michigan at the turn of the last century, that everything artisan, individual and bespoke, became mass produced. This inevitably led to the domination of the electric guitar market by makes such as Gibson and Fender (alongside some specialists like Gretsch and Rickenbacker etc). The Rock 'n' Roll boom of the 1950s and '60s was partly fuelled by the corporate giants, and most specialist luthiers found it very difficult to earn a living, especially as the quality brand guitars were rather good, and more importantly affordable.

Ray Palfray in his workshop,
 sporting his signature shirt!
(Photo credit M.McGloughlin)!

However, in Liverpool, specialist luthiers such as Stan Francis, who made acoustic guitars for skiffle icon Lonnie Donegan and folk activist Pete Seeger, drew on their engineering skills and their passion for music, to turn out a few dozen guitars, essentially from the garden shed. Around the country, a small band of luthiers kept the craft alive, largely as a hobby. By the time Ray Palfray had hung up his sound production boots at Lime Pictures in Liverpool, he had already combined his carpentry and audio-electronics skills with his love of the guitar, and was making exquisitely crafted guitars out of his garage. Retirement then presented an opportunity for Ray to turn his hobby into a business venture, and when the Cains Brewery Village came on stream as a focal point for emerging creative businesses in Liverpool, Palfray Guitars found itself embedded in Sort Rehearsal Rooms at the East end of the Cains site. Which is where our story began.

Jimi Hendrix at Woodstock

As I was contemplating my pitch to Ray and Mark over a year ago, I began thinking about the skills needed to be a contemporary luthier, and I realised just how valuable they are. You need a knowledge of music, perhaps not as a practitioner, but certainly as a listener. You need to understand and appreciate the different  properties of wood: the body requires a combination of rigidity, lightness and suitability for carving while the neck needs the strength to take the stress of the strings without warping. The measurement skills for string length and consistency between the bridge and the nut, a knowledge of electronics to ensure the wiring is discreet and appropriate, and the choice of pick-ups (one of Ray's specialities) to give a sound quality that matches that of the classics such as the twangy metallic sound of the Fender Telecaster (twangy, metallic: think Mike Bloomfield mid-'60s or Wilko Johnson, '70/'80s). Or the smoother sound of the Fender Stratocaster, from Buddy Jolly to Hank Marvin and Jimi Hendrix to Eric Clapton and Dave Gilmour of Pink Floyd: all fans of this iconic guitar. Finally, the pickups on the Gibsons including the Les Paul, that have a fuller sound: think of Paul Kossoff (Free) and Alright Now or Peter Green's sublime Need Your Love So Bad......

All achieved without digital modulation, but in harmony with classic amplifiers

such as the legendary Vox AC30 or a Marshall stack. Could there be a combination of skills any better for equipping students for the world of work? Electronics, woodcraft, design, the art and science of music? I think not! The two supervising teachers, Robbie Bell (NLA) and John Dyer (UTC and Studio) developed an outline project, which Ray and Mark then adapted to make sure the project was delivered on schedule as follows. 

Project Summary Mark Flanagan is a guitarist from Liverpool who plays with Jools Holland’s Rhythm and Blues Orchestra. He is looking to have a guitar custom built which looks and sounds different to the guitars he already plays. He has set students in the Northern Schools Trust the task of working with Ray Palfray – a guitar designer and creator working in the Baltic Triangle – the challenge of designing and building a new guitar based on his requirements. The guitar will be played by Mark on Jools Holland’s Hootenanny, a BBC show broadcast on NYE with close to 3 million viewers.

Aims and Objectives The main aim of this project is to give students the opportunity to develop skills in designing and building a guitar to specifications from the customer. You will work alongside Ray and Mark to gather information what Mark requires from the guitar, including the type of sound, the components and materials preferred and its appearance. You will then be involved in producing technical drawings and designs, models using softwood, testing, modifying and producing the final product on time.

Timeline  

June – Aug 2018

Background research, visit Palfray workshop, interview Mark on key requirements/specifications for guitar. Start designing body.

Sept – Oct 2018

Students produce technical drawings. Students to work on building softwood models with Robbie at NLA. Finalise designs.

Oct – Nov 2018

Students submit final design to Ray and building of final guitar begins. Students visit workshop and assist where possible.

9th December 2018

Guitar completed and presented to Mark.

Tasks

• Question Mark on specification/requirements
• Research history of guitar shapes/designs/materials
• Research stages in designing/building guitars
• Start producing initial designs/technical drawings
• Research/decide on components such as pickups
• Produce softwood models of guitar shapes
• Decide on final shape and send to Ray and Mark  for feedback.
• Submit final design and start building guitar

Mark, Ray (foreground) and students
at the back in Ray's workshop

Mark, John and Robbie (L to R),
with  "the guitar"
(Photo credit M.McGloughlin)

It is a great credit to the teachers and students that they developed a close working relationship with Mark and Ray in particular, and the guitar was delivered a week early! It was also great to see the sheer joy of all involved in the project. I have arranged to meet with Ray to give him the opportunity to give his side of the story and to correct and embellish some of my own observations.