I got the latest copy of Upper Valley Life magazine in the mail the other day and discovered that the story I wrote about the Vermont Instruments School of Lutherie was on the front cover. And I also discovered that the photographer for the piece was Jim Block.
My husband and I have both taken classes from Jim. (That's his picture with the camera above. Mine's the one at the top taken a couple of winters ago.)
Jim's a wonderful photographer and what I would call a Photoshop adept. He not only understands HOW the program works but when you take a Photoshop class with him, he explains WHY you would use one technique over another to achieve a certain effect. Needless to say, I learned a lot.
The UVL article is not online but I've copied my version below (there's hardly any difference between this and what is published). And I would recommend taking the time to see Jim's photos of the lutherie school on his website. Be sure to click on the slideshow icon then sit back and enjoy.
My husband and I have both taken classes from Jim. (That's his picture with the camera above. Mine's the one at the top taken a couple of winters ago.)
Jim's a wonderful photographer and what I would call a Photoshop adept. He not only understands HOW the program works but when you take a Photoshop class with him, he explains WHY you would use one technique over another to achieve a certain effect. Needless to say, I learned a lot.
The UVL article is not online but I've copied my version below (there's hardly any difference between this and what is published). And I would recommend taking the time to see Jim's photos of the lutherie school on his website. Be sure to click on the slideshow icon then sit back and enjoy.
And I hope you're all enjoying this Fourth of July. It's hot and clear here so my husband and I are heading down to the river to spend our 31st wedding anniversary on the water.
*************** here's my story ********************
A Harmonic Convergence in Post Mills
Sonja Hakala
Unless you’re a resident of Post Mills, Vermont, you could be forgiven if you didn’t know there’s an internationally renowned school of lutherie snugged down in a woodsy setting not far from the shore of Lake Fairlee. Lutherie? Sounds like something from an age with castles and troubadours, doesn’t it?
But lutherie—the art and skill of making stringed instruments—has a long tradition in this small Vermont village. Established in 1982 by George Morris, the Vermont Instruments School of Lutherie has a well-earned reputation for teaching all the skilled artisanry needed to cut, carve, glue, clamp, brace, string, and finish a professional acoustic guitar that clearly expresses the personality of its builder. And when Morris added business partner Adam Buchwald in 2008, the lutherie school expanded its offering to include mandolin building, banjo building, instrument repair, and ukulele building.
Ukuleles? Didn’t they have their heyday with Arthur Godfrey?
Buchwald grinned at the question during a recent interview at the school with Morris. “They’re amazingly popular again and a lot of bands now include ukuleles.”
Even though the school’s tenor is low key, the courses it offers are anything but. The guitar-building course, which Morris developed and taught for 26 years before Buchwald joined him, emphasizes high quality handwork based on a knowledge of the nature of wood, music, and a little bit of physics. In other words, students not only learn how to make a guitar, they learn why certain steps and choices are important.
The guitar- and mandolin-building classes are three weeks long, banjo and ukulele building courses are two weeks, and the repair course lasts a week. It’s not necessary to have either music or woodworking experience to take a class, Morris and Buchwald explain.
“We teach our students how to do everything so they can go back home and keep on doing it,” Morris said.
All students (a maximum of six at a time) live on campus while they learn. The dorm is actually a home built by Morris with a large, open room at its center with loft space upstairs for sleeping, and a full kitchen downstairs. Morris and his wife also live on site, and the hub of activity—a fully equipped shop—is a quick walk down a garden path from the living quarters. Between classes, Buchwald and Morris host a small number of concerts by virtuoso musicians from a number of acoustic disciplines in the dorm’s great room. No food or drink is served so the focus is strictly on the music.
“This is really for listeners,” Buchwald explains. The concert program began last year, and both men were pleased with its early success.
Each guitar-building class follows a similar path. Morris begins with an orientation lecture so students can appreciate the particular joys and challenges of working with wood. For stringed instruments such as guitars, only certain woods (spruce or cedar for the top, hardwoods such as maple, cherry, walnut, rosewood or zebra wood for the back and sides, ebony or mahogany for the neck) cut in a certain way (quarter sawn) are suitable.
“They’re more stable, stiffer, and better acoustically,” Morris explains.
By noon on the first day, students are choosing the woods for their projects from the supply kept by the school. Then patterns are made, edges are jointed, curves are cut, and the basic pieces of a guitar appear by the end of the first week.
As the second week began in a recent class, student Dale (DJ) Dunnells of East Parsonfield, Maine stood in front of a drill press, the mahogany neck of his guitar-in-process clamped to the table of the tool. He leaned forward, concentrating on the upper neck where strings will one day join their pegs. His right hand slowly and carefully lowered the drill bit to the wood, just kissing its surface as Dunnells eyed the future hole’s trajectory. Unsatisfied, he sighed and raised the drill bit.
“It’s a bit nerve wracking,” he admitted with a grin.
“To me, the hardest part about building a guitar is making sure it doesn’t get beat up before it goes out the door,” Morris explains to the class. The wood surfaces are delicate, he goes on, and if you lay your top down on a tool or it gets bumped, you’ve got a scar that needs healing.
“I’ll never forget the time I was repairing one of my own guitars, and the pencil behind my ear slipped out,” he said. “Embedded its point right in the top.”
Morris and Buchwald followed a similar trajectory on their paths to Post Mills. They’re both from New York, both are musicians, both love building things, and both wanted to live in Vermont.
“When I wanted to learn how to make a guitar (back in the 1970s), there weren’t many places to do that,” Morris said. “But I finally found a school in South Strafford, Vermont, owned by a man named Charles Fox who was an art teacher in Hanover, New Hampshire at the time.”
After Morris learned the elements of the craft, he stayed to teach in Fox’s school. That relationship lasted until Morris left because his philosophy of building differed significantly from Fox’s. “He wanted to grow bigger and was into production. If there was a way to use a jig (a device to ensure the accuracy of a repetitive process), that’s what he did.” Morris shakes his head a little. “I wanted to grow smaller.”
For his part, Buchwald found his way to Vermont through that big university in Burlington. “I’ve played music since I was a kid but classical guitar was the only thing I stuck with. Then when I got to UVM (University of Vermont), I majored in jazz guitar and bluegrass and started playing the mandolin and banjo.”
Buchwald’s family owns a metal stamping company in New York City, and he started working there while he was in school. After graduation from UVM, Buchwald returned to the city and started playing in a band with a man named Bob Jones. In addition to his impressive music credentials (bluegrass and folk), Jones is also a renowned healer and restorer of fretted instruments.
Buchwald wanted to learn instrument repair and eventually wormed his way under Jones’s wing. After working with Jones, Buchwald landed a job as the head technician at Retrofrets, a vintage instrument reseller in Brooklyn.
“I repaired everything,” Buchwald said. “If it had strings, I fixed it.”
In the midst of this, Buchwald returned to Vermont for Morris’s guitar-building class in 2004. Soon after, he married and when his first-born arrived, he began to yearn for Vermont.
“The city’s great but I didn’t want to raise a child there,” he said. Searching for job opportunities, he called Morris.
“At first, George asked me about buying the school,” Buchwald said. “But after we talked it through, we came to the conclusion we’d be better off in a partnership.”
Buchwald immediately introduced the one-week repair class at Vermont Instruments. He recommends students take the repair class before the building class if they can. “You gain a lot of confidence in yourself if you learn how to take a guitar apart first,” he explains. “And if you’re going to build, you’ve got to know how to repair.”
Even in these tough economic times, the Vermont Instruments School of Lutherie attracts students from the U.S., Canada, and points farther afield. It seems the human desire to create beauty—and music—with the hands is just as strong as ever.
*************** here's my story ********************
A Harmonic Convergence in Post Mills
Sonja Hakala
Unless you’re a resident of Post Mills, Vermont, you could be forgiven if you didn’t know there’s an internationally renowned school of lutherie snugged down in a woodsy setting not far from the shore of Lake Fairlee. Lutherie? Sounds like something from an age with castles and troubadours, doesn’t it?
But lutherie—the art and skill of making stringed instruments—has a long tradition in this small Vermont village. Established in 1982 by George Morris, the Vermont Instruments School of Lutherie has a well-earned reputation for teaching all the skilled artisanry needed to cut, carve, glue, clamp, brace, string, and finish a professional acoustic guitar that clearly expresses the personality of its builder. And when Morris added business partner Adam Buchwald in 2008, the lutherie school expanded its offering to include mandolin building, banjo building, instrument repair, and ukulele building.
Ukuleles? Didn’t they have their heyday with Arthur Godfrey?
Buchwald grinned at the question during a recent interview at the school with Morris. “They’re amazingly popular again and a lot of bands now include ukuleles.”
Even though the school’s tenor is low key, the courses it offers are anything but. The guitar-building course, which Morris developed and taught for 26 years before Buchwald joined him, emphasizes high quality handwork based on a knowledge of the nature of wood, music, and a little bit of physics. In other words, students not only learn how to make a guitar, they learn why certain steps and choices are important.
The guitar- and mandolin-building classes are three weeks long, banjo and ukulele building courses are two weeks, and the repair course lasts a week. It’s not necessary to have either music or woodworking experience to take a class, Morris and Buchwald explain.
“We teach our students how to do everything so they can go back home and keep on doing it,” Morris said.
All students (a maximum of six at a time) live on campus while they learn. The dorm is actually a home built by Morris with a large, open room at its center with loft space upstairs for sleeping, and a full kitchen downstairs. Morris and his wife also live on site, and the hub of activity—a fully equipped shop—is a quick walk down a garden path from the living quarters. Between classes, Buchwald and Morris host a small number of concerts by virtuoso musicians from a number of acoustic disciplines in the dorm’s great room. No food or drink is served so the focus is strictly on the music.
“This is really for listeners,” Buchwald explains. The concert program began last year, and both men were pleased with its early success.
Each guitar-building class follows a similar path. Morris begins with an orientation lecture so students can appreciate the particular joys and challenges of working with wood. For stringed instruments such as guitars, only certain woods (spruce or cedar for the top, hardwoods such as maple, cherry, walnut, rosewood or zebra wood for the back and sides, ebony or mahogany for the neck) cut in a certain way (quarter sawn) are suitable.
“They’re more stable, stiffer, and better acoustically,” Morris explains.
By noon on the first day, students are choosing the woods for their projects from the supply kept by the school. Then patterns are made, edges are jointed, curves are cut, and the basic pieces of a guitar appear by the end of the first week.
As the second week began in a recent class, student Dale (DJ) Dunnells of East Parsonfield, Maine stood in front of a drill press, the mahogany neck of his guitar-in-process clamped to the table of the tool. He leaned forward, concentrating on the upper neck where strings will one day join their pegs. His right hand slowly and carefully lowered the drill bit to the wood, just kissing its surface as Dunnells eyed the future hole’s trajectory. Unsatisfied, he sighed and raised the drill bit.
“It’s a bit nerve wracking,” he admitted with a grin.
“To me, the hardest part about building a guitar is making sure it doesn’t get beat up before it goes out the door,” Morris explains to the class. The wood surfaces are delicate, he goes on, and if you lay your top down on a tool or it gets bumped, you’ve got a scar that needs healing.
“I’ll never forget the time I was repairing one of my own guitars, and the pencil behind my ear slipped out,” he said. “Embedded its point right in the top.”
Morris and Buchwald followed a similar trajectory on their paths to Post Mills. They’re both from New York, both are musicians, both love building things, and both wanted to live in Vermont.
“When I wanted to learn how to make a guitar (back in the 1970s), there weren’t many places to do that,” Morris said. “But I finally found a school in South Strafford, Vermont, owned by a man named Charles Fox who was an art teacher in Hanover, New Hampshire at the time.”
After Morris learned the elements of the craft, he stayed to teach in Fox’s school. That relationship lasted until Morris left because his philosophy of building differed significantly from Fox’s. “He wanted to grow bigger and was into production. If there was a way to use a jig (a device to ensure the accuracy of a repetitive process), that’s what he did.” Morris shakes his head a little. “I wanted to grow smaller.”
For his part, Buchwald found his way to Vermont through that big university in Burlington. “I’ve played music since I was a kid but classical guitar was the only thing I stuck with. Then when I got to UVM (University of Vermont), I majored in jazz guitar and bluegrass and started playing the mandolin and banjo.”
Buchwald’s family owns a metal stamping company in New York City, and he started working there while he was in school. After graduation from UVM, Buchwald returned to the city and started playing in a band with a man named Bob Jones. In addition to his impressive music credentials (bluegrass and folk), Jones is also a renowned healer and restorer of fretted instruments.
Buchwald wanted to learn instrument repair and eventually wormed his way under Jones’s wing. After working with Jones, Buchwald landed a job as the head technician at Retrofrets, a vintage instrument reseller in Brooklyn.
“I repaired everything,” Buchwald said. “If it had strings, I fixed it.”
In the midst of this, Buchwald returned to Vermont for Morris’s guitar-building class in 2004. Soon after, he married and when his first-born arrived, he began to yearn for Vermont.
“The city’s great but I didn’t want to raise a child there,” he said. Searching for job opportunities, he called Morris.
“At first, George asked me about buying the school,” Buchwald said. “But after we talked it through, we came to the conclusion we’d be better off in a partnership.”
Buchwald immediately introduced the one-week repair class at Vermont Instruments. He recommends students take the repair class before the building class if they can. “You gain a lot of confidence in yourself if you learn how to take a guitar apart first,” he explains. “And if you’re going to build, you’ve got to know how to repair.”
Even in these tough economic times, the Vermont Instruments School of Lutherie attracts students from the U.S., Canada, and points farther afield. It seems the human desire to create beauty—and music—with the hands is just as strong as ever.
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