Dr Rudi Bower lectures at the Nelson Mandela Metropolitan University School of Music, Art & Design in Port Elizabeth. He is also a talented guitarist and one with a vast knowledge of guitar building. His masters’ thesis was on South African guitar builders.

You have been doing research about South African classical guitar builders over the last few year. How many guitar builders have you been in contact with?
My study focussed on the work of Mervyn Davis (Broederstroom), Alistair Thompson, Garth Pickard, Rodney Stedall (all based in Pretoria – Rodney Stedall however emigrated to New Zealand recently), Hans van den Berg (Meyerton) Marc Maingard (Scarborough) and Colin Cleveand (Cape Town).

To the uninformed – what kind of wood makes a good guitar and how much influence does the kind of wood you use have on the sound of the guitar?
The acoustic qualities of wood is a vast subject which is really difficult to reduce to a concise answer. The grade of the wood and the way it is sawn and dried plays an important role, but not as important as the way in which it is used. No two pieces of wood are similar and each piece requires different treatment to optimize its acoustic capabilities. Traditional woods for the backs and sides of classical guitars are rosewood (Brazilian and East Indian) while the top of the guitar is usually made from cedar or spruce.

Would a guitar builder use more than one kind of wood for building the instrument, or do you just use one kind of wood?
Yes, as stated above, different parts require different woods. The necks for example require a wood that is very stable so as not to warp and twist, yet must be light. Honduras mahogany or Spanish cedar is usually used for this.

Do South African guitar builders use local wood?
Some South African guitar builders (particularly Mervyn Davis and Alistair Thompson) have experimented and still use indigenous woods for the backs and sides of the guitars. Of these the most suitable and popular wood is Kiaat. No indigenous wood is really suitable for the top of the guitar. The reason for this is that our climate generally results in reasonably fast-growing wood whose grain and composition is not compressed enough, which is what is needed in a responsive tone wood for the top of the guitar.

What is the main difference between locally produced guitars and other well-known makes produced abroad?
Not much, apart from certain indigenous woods being used for backs and sides. These guitars sometimes have a slightly different and unconventional sound. Seeing that the top of the guitar, which is the main sound-producing part, still features traditional woods such as cedar or spruce, local guitars don’t have a wholly unique sound. The main differences lie in ornamental finishes like the rosette patterns (found around the sound hole) which in South Africa are often Africa-inspired.

Do the kind of strings you use have a great influence on the sound production?
Some influence yes, but generally speaking, the guitar itself and the player have a much bigger influence on the sound.

Which guitars makes/builders (internationally) are the most sought-after at the moment and for how much does one of these guitars approximately sell?
Some ‘big names” include Smallman, Ramirez, Contreras, Romanillos, Fisher, Hauser. These guitars can sell for anything starting from $15000.

How do locally built guitars compare with the internationally known/respected makes? (Sound and price wise)
It is really difficult to compare two groups as diverse as South African guitars and overseas guitars. What I can say is that through personal experience I have found South African-made guitars to be on par with many of the more pricy overseas models.

What does one look at when purchasing a good guitar?
What makes a good guitar is a highly personal matter. I would certainly not buy a guitar I have not personally played on. Factors such as ease of playing, action, sound and finish are obviously important aspects. Reputable builders that offer after-purchase service are then also “safer”.

02.05.11