Articles

Features By Ervin Somogyi:

An Am[us?] [az?]ing Educational Experience

 

A Digression Into Matter of Top Thickness

 

The Dumpster Drum

 

Steel String Guitar Basics

 

An Interview with Steven Dembroski, from Dream Guitars

 

Why Are There Differently Constructed Classical Guitars?

 

Whence The Steel String Guitar?
Part 1

Part 2

 

Why Lutherie?
“American Lutherie” #58, Summer 1999

 

Principles of Guitar Dynamics & Design
“American Lutherie” #36, Winter 1993

 

The State of The Contemporary Guitar
Part1

Part 2
Part 3
Part 4
“Fingerstyle Guitar” #40-44, 2000-01

 

Tonewoods in Guitars

 

Lutherie Trivia
“American Lutherie” #36, Winter 1993

 

Some Thoughts on the Differences Between Handmade and Factory Made Guitars
>> Online Illustrated Version
>> Spanish (pdf)
>> French (pdf)

 

My Adventures in Book Publishing

 

On the Matter of Advertising Slogans

 

Guitars, Virtue, and Nudity: The Guitar as an Icon of Culture, Class Status, and Social Values

 

“La Guitarra” – A Psychological Insight into Flamenco

 

The Carmel Classic Guitar Festival of 1977

 

The Guitar as an Emergent System

 

The G.A.L., Healsdburg, N.C.A.L., and Me
Part 1

Part 2

 

The Wisdom of the Hands

 

On The Challenges to the Luthier in Mastering Both Steel String and Classical Guitar Making

 

Top Thickness in Guitars

 

Is It Art or Craft?

 

Thoughts on the Passing of Paco De Lucia
Part 1: An Overview of Modern Flamenco

Part 2: A More Personal View

 

On Tonal Bloom

 

Trompe l’Oeil and Wabi-sabi in Guitars

Features About Ervin Somogyi

Interview: Ervin Somogyi
“Guitar Bench” #9, March 2014
Boxes You’d Like to Strum
“Fine WoodWorking”  #111, April 1995 (Back Cover)

“It probably won’t come as much of a surprise that the man who made this collection of boxes spends most of his time building guitars and lutes. Musicians may know Ervin Somgyi of Berkeley, Calif as a maker of fine acoustic guitars.”

 

A Luthier’s Rosettes Become Artwork in Their Own Right
“Woodwork” #28, July-August 1993

“One aspect of his superb craftsmanship that has developed a life of its own is the ornamentation lavished on many of his instruments.”

“His honors include being named in the ‘Best Luthier’ category for four years in Frets Magazine’s national poll [and] having a guitar judged as ‘best sounding’ in listening tests conducted at Boston University…”

 

Ervin Somogyi
The Guild #9 – Designer’s Reference Book of Artists, 1994

“Ervin Somogyi is a professional luthier and woodworker of more than 20 years standing, whose work is known and respected internationally.”

“His carving and inlay work arises out of the musical instrument-building tradition and aesthetic, and includes Japanese, Celtic, Islamic, Judaic and Renaissance designs.”

 

Wall Mounted Chest
The Art of Making Elegant Jewelry Boxes – by Tony Lydgate, 1996

“There’s no room to go very far with a rosette design on an actual instrument, so I’ve turned to boxes—and now to this wall chest—’to give me the chance to explore larger and more intricate forms.'”

 

Carved Lid Boxes
Award Winning Wood Boxes – by Tony Lydgate, 1995

“Instruments in the guitar and lute family possess a circular sound hole, traditionally decorated with an inlaid or carved rosette. Somogyi uses his extraordinary skill as a designer and carver to turn this decoration into an art form all its own”

 

Frets Look at The Somogyi Dreadnought Cutaway
“Frets” February 1980

“Ervin Somogyi is a California-based luthier with an excellent reputation for high-quality handmade guitars.”

 

Ervin Somogyi: Small Jumbo
“Player Magazine” (Japan) #384, 1998

“When one compares steel string guitars with classical guitars, steel string guitars are usually found to be less well made than classicals. Some important processes in the making can be skipped in the case of steel strings. But I think Somogyi’s guitars are the first steel string guitars to have the quality of well made classical guitars. I think they the quality of the best made classical guitars.”

 

Gallery of Woodwork (Photo Feature)
“Woodwork” #30, December 1994

 

Frets Look at The Somogyi Dreadnought
“Frets” January 1984

“Our sample Somogyi Dreadnought’s composite score of 93.7 is among the highest we’ve awarded any guitar in the past year. In playing tests, we were impressed with the guitar’s playability and balance and its broad range of tone color.”

 

Sound for Art’s Sake
“Nikon World” Vol 5. #2, Spring 1994

“…really fine guitars don’t come off the assembly line — they are hand-crafted out of cedar and spruce with rare characteristics that come together to create the elusive sound required of the instrument.”