Guitar Maker - Diego Cabeza

Guitar Artesan - Diego Cabeza

Interview with Diego Cabeza, luthier

Qualified as a structural engineer, Diego learned how to make flamenco guitars together with his father Luis at their workshop in Seville. The two artisans, also supported by Diego’s mother, handcraft these instruments using Spanish wood, and taking around a month for each beautifully made guitar.

 

 

AC: How long have you been working in the studio (and your father too)? At what age did you start making flamenco guitars?

DC: My parents started working in craftsmanship about 40 years ago, making architectural models. Five years ago, when my father Luis decided to give up his business for health reasons, he wanted to fulfil his dream of making a guitar, and that's when I fell in love too. At that time I was 27 years old. Previously I studied structural engineering, and when I finished, I dedicated myself to music and craftsmanship, helping in my parents' workshop.

AC: Where did you learn your craft - as an apprentice to your father? Do you have any formal qualifications, or is it the practical experience that counts the most?

DC: When I was younger, before asking the price of something, I would always ask how I could make it myself, with my own hands. I was always curious about machines and tools, and because of my persistence, when my father didn't help me, I would get down to work, so clearly there was already an inclination.

I learned to make flamenco guitars with my father, as he was a master craftsman; however, because this business was new to him, I had to do a lot of research and learn new skills. In addition, my studies as a structural engineer, along with my experience in music with my indie group, El Imperio del Perro, were essential to achieve a product that met expectations. My father and I complement each other very well and I can say that I almost owe him two professions – he taught me how to be a good artisan.

As for studying to become a guitar-maker, the most important thing tis the talent and passion you put into it. Anyone can learn to build a guitar nowadays, either at home, in a school, in another craftsman's workshop, or all at the same time. The difficult thing is to get the experience and the little tricks that few people know, and nobody shares. In this field absolutely everything has a trick, and one conversation with an experienced luthier can teach you more than you’d learn in a year locked up in a workshop.

AC: What is it like to work with your family? How do you divide up the work?

DC: Anyone who works with family members will tell you it's complicated. Still, it has many positive aspects, and we get along well. I started out helping my parents in their previous business, making architectural models. I was just an assistant who didn't make decisions and did what they told me to do. When we started with the guitars, things changed because then we were on the same level and we both contributed equally. That helped me because hierarchies when working in a family business can be challenging for anyone.

After so many years of working, it seems perfectly logical to me that my father prefers not to undertake some of the more laborious tasks. Therefore he usually does those tasks he is most keen on, and we organise ourselves to leave the most important parts of finishing, wood-tuning, designs and so on to me. Let's say that, although I can do everything, I usually focus more on the highly skilled work and he concentrates more on the initial steps of gluing, preparations and so on. He is great at rosettes and loves making them, for example. My mother also helps with the decision-making and maintenance of the workshop, although this isn’t so obvious. We work together as a team!

AC: How long does it take to make each flamenco guitar?

DC: It depends on many factors, but it takes on average a month or just over a month per guitar, although we work on several at the same time with a longer time frame.

AC: Are they all made to order, or do you sell some pieces in stores?

DC: Although we sometimes have guitars in stock for sale, we usually work to order. Also there may be fabrication details that depend on personal factors of the guitarist; think of our guitars as custom-made precision tools.
 

AC: What are the different stages (briefly) of making a flamenco guitar - cutting, treating, bending the wood, etc?

DC: We could divide it into 3 fundamental stages: First we select the dry woods, and we shape each piece and create all the parts of the guitar. In the second stage we assemble these pieces and prepare all the adjustments, such as setting the strings at the correct height for the client. Keep in mind that unlike with other guitars, you have to be very precise in the construction, since with these guitars the neck and the bridge cannot be moved once they are finished.

Finally, the varnishing: in my case I do it with gomalaca (shellac), which is the best finish to ensure the guitar has a good sound . This process requires patience and mastery; it takes about a month, because you have to apply several coats of gomalaca. Since the glue or varnish needs to dry, we usually work with several guitars at the same time.

 

AC: Where does the wood you use come from - Spain, for example? Is it sustainably grown?

DC: From all over the world, although from Spain we have always used cypress, which is the most popular wood for flamenco guitars. We also use spruce, cedar and Indian rosewood. FSC woods have become very popular, and most suppliers offer many options. I should emphasise that we are looking for the driest woods, such as older woods that may be sitting forgotten in a luthier's workshop.

AC: How does the flamenco guitar differ from the classical guitar?

DC: We work on the assumption that the flamenco is an evolution of the classical guitar. Comfort is fundamental. The flamenco guitar is usually more lightweight, with a more percussive sound, which is also highly conditioned by the very low string position so they can be played  fast. In addition, this gives the flamenco guitar its characteristic cerdeo (buzzing) sound.

AC: What are the most essential skills for a luthier?

DC: Patience and consistency are very important, both to know when you should take a day’s break, as well as to be able to work over a weekend. Here the line becomes blurred between the work itself and passion for the craftsmanship. Hours of study and reflection are essential, so you have to work hard but also know when to stop.

AC: What are the most important characteristics of a good flamenco guitar - both in shape and sound?

DC: The basis of everything is the wood, although in my opinion this doesn't have to be the most important element, since it is essential that the craftsman's hands are skilled in using the wood. You can ruin good-quality wood, or get gold out of one that at first glance anyone would discard. The sound, on the other hand, is very subjective, although there are guitars that sound unquestionably good.

You also need to be clear about what you are looking for. For me, comfort is essential, but not the only key  factor. If a guitar doesn't sound particularly good but is comfortable, at least you will be able to get a sound you like and work with it. If, on the other hand, it is uncomfortable but sounds good, you will probably end up getting frustrated and, in my opinion, artistic development should be enjoyable. My experience tells me that the gomalaca finish is also fundamental for the instrument to develop its full potential in terms of sound. Otherwise I think there are as many details as there are guitarists.

AC: In addition to making guitars, do you do repairs in the workshop?

DC: We are mainly dedicated to making new guitars. We don't always have time to repair, although we can do that too.

 

AC: What is the average cost of one of your handmade flamenco guitars – and the most expensive one? How is the price assessed - is it by the type of wood, or other criteria?

DC: The price is valued mainly by the artisan’s hands that make it (or the workshop/company), and the wood. Every guitar-maker raises his prices as he gains more experience; hence why some people buy instruments from up-and-coming guitar makers as an investment. On our website www.guitarrascabezamontiel.com you can consult the latest prices (from about 2,300 euros+IVA) and ask us any questions.

AC: What is your work philosophy? What do you offer to your clients?

DC: We know that our guitars are a luxury for most of our clients, and that is exactly how they are conceived by us too. Our work is delicate and laborious, and we are always striving to meet the expectations of the client, who is involved in making many decisions about details of the instrument. We are not only making a musical instrument with exquisite sound quality; we are also making a work of art, a unique product with handmade marquetry, all of which has been designed and manufactured in our workshop.

AC: Do you play the flamenco guitar yourself? Does your father play it? Do you have a favourite flamenco artist(s)?

DC: I used to play the electric guitar; although I didn't learn flamenco or classical, these are the guitars I like to make the most. Perhaps because the wood is the most important thing, or because it is a very pure guitar with an incredibly beautiful sound.

AC: Is it crucial to have your workshop in the centre of Seville, for the convenience of clients, and for the local atmosphere, so you can mix with other artisans?

DC: My parents bought this workshop a year before I was born, so I grew up here and I've always liked this neighbourhood. I love the atmosphere and all the neighbours know us. We have a lot of contact with other artisans, artists and professionals in the area, although in the guitar-making trade lately, it's easier to get in touch with people from far away than with your own neighbours. The workshop is situated in a privileged location, which is always useful, not only because customers can reach us easily, but also because there is so much of the guitar-maker’s character imprinted on the instrument, including the place where they work. It is also true that I have to speak English with most of my clients, which I love; Seville has always been a very popular city for foreign visitors.

AC: How significant are social networks for your workshop - videos on Instagram such as the various stages of guitar making, and seeing a musician play the finished instrument? Do they bring you customers, or is it more to impart information, arouse curiosity, and value the work and skill of the luthier?

DC: Although social media is important for any business today, most of the customers come by word of mouth. It is a very old-fashioned business, and when I started, I never imagined that I would find so many new trends linked to others that I thought were extinct. I use the networks more as a portfolio and to be aware of the work of other colleagues; it’s enjoyable and you learn a lot.

AC: Where do you go to listen to live music, in Seville or anywhere else in Andalucia? Do you like tablaos or something less formal?

DC Specific concerts, some festivals like the one in La Puebla de Cazalla, which is my hometown. I like informal gatherings in bars like Taberna Ánima [in San Lorenzo]. I'm a big music-lover and I have very eclectic musical tastes, so I enjoy many styles.

 

AC: What is your favourite Andalusian or Sevillian tradition/custom?

DC: Seville is a city where everything is focused on socialising out and about. I like to go for drinks in the bars here. I like the city’s sense of humour and the abstraction of Andalusian mischievousness, which influences us in so many ways, not just in our humour, but in actions like exaggerating and telling stories.

AC: What is, for you, the best time of the year in Seville?

DC: Spring, without a doubt. The popular festivals bring together many different kinds of people, which I find very authentic.

AC: What is your favourite bar in Seville?

DC: La Maricarmen in calle Amor de Dios – good, honest home-cooking, and a nice, relaxed atmosphere.

AC: Do you have a favourite Andalusian ingredient or special dish?

DC: La Jarria, which is a dish from my hometown [La Puebla de Cazalla] similar to salmorejo - I could even eat it in winter.

AC: Tell us five words that describe what Andalucia means to you?

DC: Guitar, history, culture, beauty, plurality.

 

More info - Guitarras Cabeza Montiel