“The guitar itself has always been my best teacher. She has always revealed herself to me bit by bit, taking her own sweet time. I’ve been the student.” – Ervin Somogyi
We are extremely fortunate to have three Somogyi Guitars in-stock at the moment so we decided to record all three for another special video which we have named, “Three Decades of the Somogyi Sound!”
“Ervin Somogyi has long been one of my favorite builders. He was one of the original luthiers to create the open modern voicing that we now all think of when we hear fingerstyle guitar recordings. In the 1970s and 80s when artist like Alex De Grassi first started to record fingerstyle guitar, they went to Ervin Somogyi and asked him for guitars with more open voicing that would be more appropriate to make recordings with. The factory guitars of the day were simply not expressive enough for solo guitar pieces. To this day Ervin is considered one of the masters of guitar voicing and he has taught his ideas and techniques to many of today’s top luthiers the world over.” – Paul Heumiller
Here at Dream Guitars we have been a dealer for Ervin Somogyi for many years and he is constantly a favorite for our clientele. It is a sheer delight to have three of his guitars in the shop right now, each from another decade.
We simply could not resist recording them side-by-side to share with the world. Somogyi’s voice is one that all lovers of guitar should know and understand. It has so influenced modern guitar perhaps more so than any other single builder.
We asked Ervin Somogyi himself for a few thoughts on how his building has evolved over the last few decades and here’s what he had to say:
“Lately, some guitars of mine from the eighties and nineties have come on the market, and some of them have come to my shop for visits, checkups, or for a tweak or repair . . . or because the original owner was no longer playing guitar and wanted to see if I knew anyone who would want to buy their baby. And so on.
I have been pleasantly surprised in every instance by how well they’ve held up. Yes, they’ve had signs of wear and tear — if not in small scratches and such, then most notably in the look of the lacquered finish. Lacquer has the capacity to separate from its underlayment, over time; and these guitars show small spots of lacquer separation/bubbling from the wood underneath. This is not in the least bit serious; it’s cosmetic and easily fixable; a guitar simply looks not-brand-new in this regard.
Happily, not one of the guitars that I’ve seen or heard about, from this period, has been mistreated: they seem to be structurally sound. And I’ve been pleasantly reminded of how far back I was using certain elements of decoration, or arrangements of bracing, that now seem to me like the most intelligent way to carry out this work.” – Ervin Somogyi