Metaphysical Methods and the Pursuit of Philosophy - Ervin Somogyi

The man who laid the foundation for the modern acoustic guitar


Martin and Washburn are widely recognized as the founders of the acoustic guitar. However, standing on the shoulders of these traditional giants, there is a man who, with his creative approach and deep passion, has overturned the conventional wisdom of guitar making and set a new standard for steel-string guitars. His passion and career have been shaped by his unique background and experience, and Somogyi has cemented his presence in the arena of "modern guitar making.
Somogyi's guitars, which I own myself, are treasure chests of musical magic, and anyone who comes into contact with his work is instantly captivated by it.

Diverse Cultural Influences and Paths to Guitar Making

Born in Budapest, Hungary in 1944, Somogyi spent his childhood touring the world. His life is marked by the effects of war. He experienced the Nazi persecution of Jews during World War II and developed a profound outlook on life from the suffering and loss suffered by his family and community. This multicultural experience has given him a rich understanding, adaptability, and perseverance, and has brought him the joy of creating a variety of crafts and models. After graduating from the University of California, Berkeley, with a degree in English literature, he joined Peace Corps, where he held a variety of positions.
His passion for making guitars led him to read Irving Sloane's "Classic Guitar Construction" in the 1970s, which inspired him to start making guitars.

A Turning Point at the Carmel Classic Guitar Festival

The Carmel Classic Guitar Festival in 1977 was a pivotal turning point for Ervin Somogyi. The festival was a great opportunity for guitar makers and players to meet, exchange ideas, and get feedback on new techniques and designs. This event, the Olympics of guitar making, gave Somogyi a rare opportunity to compare his techniques and designs to industry standards.
However, the feedback at the festival was not always positive for Somogyi. Criticism of his work hit him like a broken guitar string. He realized that his previous techniques and designs were not up to the industry's highest standards. Through this experience, Somogyi was determined to fundamentally review and improve his techniques and designs.
He was willing to learn new techniques and theories, and dedicated himself to adopting an innovative approach that was not bound by existing methods. He made a concerted effort to re-evaluate and optimize every aspect of guitar making, from wood selection and acoustic design to aesthetics. Notable technical innovations included top bracing (strut placement) based on acoustic theory and the introduction of the Mortise and Tenon joint, an improvement over the dovetail joint.

Humorous

In addition to his technical excellence, Ervin Somogyi is a man with an exceptional sense of humor. His humorous side, full of anecdotes and jokes, adds a unique flavor to the guitar-making process. He cites the "Hindenburg" and the "Titanic" as his "legendary" guitar models and describes them as if they were failures. He also proudly introduces achievements unrelated to guitar making, such as "honorable mention in a pumpkin carving contest," with a touch of self-satirical humor.

His fictitious specs and disclaimers about his guitars are also humorous. Somogyi also highlights the uniqueness and creativity of his career by sharing anecdotes of the "success" of fictional bands and nonexistent guitar models. and creativity of his career. These stories show that his guitars transcend mere instruments and are works of art filled with his personality and creativity.

Of particular interest is a causal incident he experienced during an affair. One night, Somogyi and his girlfriend misused white glue as massage lotion in the dark. The next morning, the two were stuck together by the glue and had to call the fire department to hose them apart. The incident occurred in a small town and was so humiliating that the townspeople gathered to watch the commotion. He humorously describes this episode as his "most embarrassing moment.

To own a piece of Somogyi's work is to share his philosophy and humor. For more information, please visit his blog and humorous bio.

Philosophical Approach to Fingerstyle Players and the Development of Modified Dreadnought (MD)

The Modified Dreadnought (MD) has a slightly slimmer body than a traditional dreadnought guitar, with a more defined waist. This design greatly improves comfort when holding the guitar and serves to reduce fatigue while playing. The nipped-in waist not only provides visual beauty, but also has acoustic importance. This feature increases the guitar's response and makes the sound clearer and more balanced.

Ervin Somogyi has a deeply philosophical approach to fingerstyle players. His guitars are designed so that the player and the instrument become one, with the guitar itself becoming a partner in maximizing the player's musical expression. His goal is for the guitar to respond as if it were interacting with the player, bringing the music to life.

I myself own a Modified Dreadnought built in 1998. This guitar has a citrus spruce top, and sides and back are made of hakaranda. Since that time, double layers have sometimes been used on the sides, but this one is veneer. Until I met this guitar, I was honestly indifferent to Somogyi, and had only a "what a great guy" kind of recognition.

However, after picking up this guitar and playing a single note, I was instantly captivated by Somogyi and could not suppress my intellectual curiosity. The sound was more like a percussion instrument like a harpsichord than a stringed instrument, something I had never experienced before, and I couldn't help but feel a deep shock. Furthermore, I was impressed by the art aspect of Somogyi's policy, and feel that the inlays and decorations on this guitar shape its sound.

Somogyi himself states that the inlays and decorations do not affect the sound, but to me it feels as if the guitar itself has a soul, and I get a live feeling as if it were a living creature.

Views on top wood thickness and tonewoods

The thickness of the top wood has a great influence on the acoustic properties of the guitar, and Somogyi has the technology to optimize the thickness of the top wood to maximize the acoustic performance of the guitar. Somogyi's obsession with tonewood selection is like a jeweler selecting the best diamonds. He has a deep understanding of the acoustic properties of each type of wood and the tonal qualities that each wood brings to the guitar. He carefully selects the highest quality tonewoods and strives to design and build guitars that make the most of their characteristics.

Somogyi also evaluates tonewoods by their Quality Factor (Q-value), a dimensionless quantity that indicates the vibration characteristics of an object and is an indicator of low energy loss. Specifically, it is defined as the ratio of the total energy to the percentage of energy lost within a cycle. A high Q-value means that the object maintains vibration for a longer period of time and has less energy loss.

In guitar making, Q-value is extremely important in evaluating tonewoods. Wood with a high Q-value provides long sound sustain and a pure, clear sound quality. Ervin Somogyi has a deep understanding of this Q-value and uses techniques to select the best tonewoods and maximize their characteristics in guitar making.

Design and Technology

Air Pump Analogy

In Ervin Somogyi's philosophy of guitar making, the analogy of the guitar as an "air pump" seems to be very useful in understanding the acoustic properties of the guitar. Somogyi uses the concept of an "air pump" to explain how the top and back of the guitar accept the vibrational energy of the strings and release it acoustically to the outside. This analogy suggests that the guitar is essentially a machine for moving air, and that its efficiency is highly dependent on the design and materials of the guitar.

Specifically, the top and back of the guitar are responsible for effectively transferring the energy of the strings to the air and radiating it as sound waves. The bridge of the guitar plays a major role in transferring the energy of the strings throughout the guitar, pushing the air by moving it up and down like a pump. This movement is part of the mechanism that produces sound, and it is how the parts of the guitar resonate with each other that determines the sound quality.

Here, we would like you to use a little imagination. The way the top and back of the guitar "accept" the vibrations of the strings and move the air is like a pump; the Somogyi guitar acts like a precise pneumatic pump to produce sound. Imagine the top and back capturing the vibrational energy of the strings and transmitting it outward as air waves. It is as if a small factory is in full operation.

Somogyi's philosophy is to take design and manufacturing to the extreme by viewing the guitar not as a mere musical instrument, but as an acoustic machine. This perspective creates the unique acoustic properties and artistic value of his guitars. He emphasizes that "how effectively air is moved" is directly related to sound quality in guitar making, and through this approach, his guitars have an acoustic performance that sets them apart from other guitars.

Playing a Somogyi guitar is like operating a small engine. Like an elaborate pump that moves air, his guitar accepts the energy from the player's fingertips and converts it into beautiful music. Thus, when you pick up a Somogyi guitar, you are not just a player, but a maestro who creates music.

Neck Joint

Ervin Somogyi's neck-joint technology is different from that used in steel-string guitars in that it is precise and robust. The motise (concave part) and tenon (convex part) are precisely engaged to create a strong and stable joint. This process perfectly integrates the neck and body, and the entire guitar functions as one perfect machine.

He also uses a custom jig to support this joining technique. These jigs are designed to precisely align with the centerline of the guitar, optimizing neck alignment. This custom jig is like a guitar craftsman's magic wand.

It maximizes the acoustic characteristics of the guitar and improves the response for the player. No matter how subtle the sound, the guitar responds instantly; playing a Somogyi guitar, you will feel as if the instrument is reading your thoughts. An invisible bond is formed between the player and the guitar, through which the music flows freely.

Advantages of Mortice-and-Tenon Joints

Large joint area ensures even distribution of force.
Less loosening due to high-precision engagement.
The use of adhesives further increases the strength of the joint.
Structural support is provided to prevent wood splitting.

 

Advantages of dovetail joints

Wedge shape provides very high tensile strength
Self-retaining, providing high retention without the need for adhesives
Decorative and aesthetically pleasing

Bracing

Ervin Somogyi deeply understands the importance that bracing plays in the transmission of acoustic energy and resonance. His design aims to efficiently transfer sound vibrations throughout the top plate for uniform resonance. The placement and shape of the bracing is designed to ensure that sound energy is transmitted without waste.

Somogyi's bracing is like a sound navigator, providing a path for the sound vibrations to travel without hesitation. The cleverly designed bracing directs acoustic energy throughout the top board, enriching the guitar's sound. He believes that the bracing ensures the strength of the guitar while avoiding excessive weight. This allows the top board to vibrate freely, producing a rich, responsive sound. This balance allows for both acoustic performance and durability. His bracing is like a blueprint hidden inside the guitar, maximizing the quality of the sound.

Additionally, Somogyi uses tap tuning to determine the position and thickness of the bracing. This technique involves tapping the top board, listening to its resonance, and adjusting the bracing for optimal acoustic characteristics. This tap tuning is the moment when the instrument speaks to itself, and is the process by which Somogyi interacts with the guitar to find the optimal bracing.

Paint

French polish, with its extremely thin layer covering the surface of the guitar, does not interfere with the vibrations of the top and back plates. By contrast, lacquers and other painting methods inhibit the transmission of acoustic energy as their coatings suppress the vibrations of the guitar. This difference determines the superior acoustic properties of French polish.

Somogyi has observed that the tap tone of a guitar with a lacquered finish is significantly attenuated compared to that of the guitar before painting. It feels as if the guitar has been "smothered". On the other hand, French-polished guitars retain their tap tones well and maintain the "lively" acoustic characteristics of the top and back plates. This allows the player to enjoy a richer, deeper tone.

Double Layers

Ervin Somogyi's guitar workshop was once destroyed by fire, and this tragic event resulted in the double-layer construction of the sides. With the workshop destroyed by fire, many tools and materials were lost, forcing him to start anew. Some of the wood was pitted by the fire, and Somogyi sought ways to utilize it as tone wood. As a result, a double-layer construction was born. Normally, a plywood board consists of three boards, but as the name "double layer" implies, Somogyi uses two boards of the same kind of wood. This technique is also used in the world of classical guitars.

Somogyi has found that the double layer construction greatly improves the overall performance of the guitar. The use of two layers of wood results in more efficient sound transmission, increased durability and structural stability of the side sections, and a richer, clearer sound. This idea, born of the adversity of fire, epitomizes Somogyi's innovation and adaptability; Somogyi's design is aimed at maximizing acoustic properties. The double-layer construction makes the sides of the guitar stronger and amplifies the resonance of the sound. The advantage of the double-layer construction is not just a cost-saving idea, but rather an extra cost.

There are many other factors that determine the philosophy and sound of Somogyi, but we will only share some of them here.

Philosophy of Craftsmanship and Guitar as Art

Ervin Somogyi's guitar making goes beyond mere craftsmanship to the realm of art. Somogyi combines metaphysical methods with deep philosophical inquiry throughout the entire guitar-making process.

Somogyi believes that the sound of the guitar is not merely a physical vibration, but an expression of the soul. His metaphysical approach aims to bring out the essential "presence" of the material itself in the process of making the guitar. His technique concentrates on the harmonization of the various parts of the guitar to create a single unified "being" of sound.

He concentrates on bringing out the fullest "voice" of his guitars. Somogyi's goal is to create guitars whose beauty and acoustic qualities are felt the moment the player touches them.
His inlay work goes beyond mere decoration and serves to enhance the aesthetic unity of the guitar as a whole; Somogyi believes that a guitar's visual and aural appeal provides a richer experience for the player. The moment a player picks up one of his guitars, he or she will feel as if he or she has acquired a first-class painting.

This fusion of metaphysical techniques and art sets Somogyi guitars apart from those of other makers. As a result, Somogyi's guitars become irreplaceable partners for the player and will be loved for a long time. His guitars are not just instruments, but they weave a story together with their players.
His role as an educator is an extension of this philosophy, and Somogyi is passionate about sharing his skills and philosophy with young luthiers. His workshops and classes have undoubtedly influenced many and contributed greatly to the development of the art and craft of handmade guitars. His students, while continuing to follow his teachings, are also using their own individuality and creativity to pave the way for new avenues of guitar making.

Holding a Somogyi guitar in one's hand is like holding the history and future of music in one's hand. The luthiers who have learned from him have also passed on their philosophies and techniques to the next generation, and the future of guitar making is bright.

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Ervin Somogyi's career has been shaped by his diverse experiences and deep passion. His attention to detail in guitar making, his innovative designs, and his contributions as an educator have left a significant mark on the world of guitar making. There is no doubt that his passion and dedication have further enriched the art and craft of handmade guitars.

Rarely has a luthier expressed his philosophy with as much confidence in his work as Somogyi. His attitude, as if he is talking to the guitar rather than building it, provides more value to the owner than a mere possession. When you pick up one of his guitars, it is as if the instrument is talking to you, saying, "Hey, what song are you playing today? "Hey, what song are you playing today?
His presence is a legacy that will shine forever in the world of guitar making. Ervin Somogyi's guitars are not just instruments, they are a kind of magic, and the moment you pick one up, you will nod your head and say, "Well, that's what a guitar is. The moment you pick up one of his guitars, you will nod your head and say, "I see.

Born in 1944, Somogyi is 80 years old in 2024 and has a pacemaker implanted in his heart.
I sincerely hope to experience his new philosophy for a year, a month, or even a day longer.

Advance Guitars
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References
Making The Responsive Guitar
The Responsive Guitar

Source
Ervin Somogyi - The Responsive Guitar https://esomogyi.com