UK Builder Stuart Mewburn interview with Custom Guitar Boutique

Stuart Mewburn has been refining his craft as a luthier since 1972. This UK based luthier has made copies of some of the most influential builders of the modern guitar.

Stuart has had his fair share in researching the likes of Robert Bouchet, Santos Hernandez, Hernandez & Aguado, and Ignacio Fleta to name a few.

Stuart's guitars are the next step! Improving upon what these master luthiers accomplished, stuart has added his own innovations to his guitars giving the player, better projection while preserving the aesthetic charm of the modern guitar.

CGB: Let’s start from the beginning how did you generate interest in the guitar?

Stuart: When I was a kid I discovered a record player in the attic and a pile of 78s beside it. One of those records was Hank Williams singing "Cigarettes and whisky and wild, wild women, they'll drive you crazy, they'll drive you insane." I was hooked. I nagged my Dad until he got me some guitar lessons.
What inspired you to become a luthier - I saw a TV programme about a guy who lived in a trailer on Georgian Bay and made guitars in it. Some how he got his guitar into the hands of Segovia. Segovia was asked by the presenter what he thought. Segovia thought for a moment then said, "It is nice, but it doesn't quite have...". Here he put his finger tips together, pushed and then relaxed them. "...this" he said. I had no idea what he was talking about but the guy obviously loved what he was doing and wasn't put off by the opacity of the remark. It stuck in my mind as an interesting thing to do.

CGB: What inspired you to become a luthier?

Stuart: I saw a TV programme about a guy who lived in a trailer on Georgian Bay and made guitars in it. Some how he got his guitar into the hands of Segovia. Segovia was asked by the presenter what he thought. Segovia thought for a moment then said, "It is nice, but it doesn't quite have...". Here he put his finger tips together, pushed and then relaxed them. "...this" he said. I had no idea what he was talking about but the guy obviously loved what he was doing and wasn't put off by the opacity of the remark. It stuck in my mind as an interesting thing to do.

CGB: When did you finally realize you could earn a living building guitars?

Stuart: About 25 years after I built my first guitar.

CGB: Since day one of becoming a luthier, after all the experience through the years what is the fundamental thing you still do today that you did in the beginning?

Stuart: On a solera, the spanish way. Neck first, top next, then sides and back.

CGB: What is your luthier or guitar building horror story?

Stuart: A client from the US ordered a classical guitar. I was just finishing it and sent him some pictures. He said he'd changed his mind and wanted a flamenco guitar instead built with the same wood. I explained that the wood (very old Brazilian Rosewood) was now part of a classical guitar and I wasn't about to take it apart.. Arguments went on for a month and finally he agreed to have the flamenco built in another set of rosewood.

When it was finished he complained about two filled worm holes in the new back which I thought added character. I told him that I was not going to send the guitar, that I did not want a client who was unhappy with my work and that we were finished doing business.

Then I got emails demanding I send the guitar, that, really, he liked it. In the end he sent the money and I sent him the guitar. Then he complained about the action being too high (it was under 3 mm at the 12th). So I sent him a list of luthiers in his area who could play with it. I never heard from him again. Interestingly, the first guitar I made for him was eventually bought by the head of all musical instruments and furniture at one of Britain's great museums.

CGB: How different are things today as far as luthery and the industry goes from when you first started building, any significant changes?

Stuart: There has been a lot of experimentation that has led to better made guitars. But it's pretty hard to beat the sound of some of the earlier makers like Arias, Simplicio, and Santos Hernandez even if they aren't as loud as modern guitars.

CGB: Have you ever had to deal with a customer who knew for sure they wanted a guitar from you, and then when you asked them what they were looking for, had the slightest clue about why they wanted one of your guitars?
Stuart: Usually I have a conversation with players before I start about what they want and when they ask for something that I don't think is achievable I let them know my limitations as a builder. Almost always when it's explained about how a guitar makes sound and what control you have over that sound they begin to see their requests in a realistic context.

CGB: Do you have any favorite woods as far as sound and ease of use? For example I know cocobolo is very dense and can be a challenge to carve by hand.

Stuart: I'm with Torres on this. Only the top really matters and I buy them for sound, not looks. For flamenco back and sides I really like Yew (Taxus Bacccata). It's about the same weight as walnut but because it's so stiff it helps in the projection of the sound.

CGB: What would you say to up and coming builders who are just starting out?

Stuart: Go for it, but don't expect to get rich.

CGB: In your opinion who is the most influential Luthier?

Stuart: Joseph Pages of Cadiz who was experimenting with fan bracing half a century before Torres.

Stuart Mewburn guitars may be purchased via: customguitarboutique.com Come pay us a visit.

Customguitarboutique.com currently has one of Stuart's guitars to help our customers decide if they would like to purchase one. If you are in the NYC Area and would like to test drive it please contact us to schedule an appointment.