Ervin Somogyi - The pursuit of metaphysical methods and philosophy

The person who laid the foundation for modern acoustic guitar.


In the realm of acoustic guitars, Martin and Washburn are widely recognized as pioneers who laid the foundation. However, there is a man who stands on the shoulders of these traditional giants, and with his original approach and deep passion, has overturned the conventional wisdom of guitar making and established a new standard for steel-string guitars. His name is Ervin Somogyi. His passion for guitar making and his career have been shaped by his unique background and experience. Somogyi has firmly established his presence on the stage of "modern guitar making."
I myself own one, and Somogyi's guitars are truly treasure chests that contain the magic of music; anyone who experiences his work will instantly be captivated.

Influences from diverse cultural backgrounds and the path to guitar making

Born in Budapest, Hungary in 1944, Somogyi spent his childhood traveling extensively and embarking on a world tour. The impact of war is deeply etched in his life. Having experienced the persecution of Jews by the Nazis during World War II, he cultivated a profound worldview from the suffering and loss his family and community endured. This multicultural experience instilled in him a rich understanding, adaptability, and perseverance, leading to the joy of creating various crafts and models. After studying English literature at the University of California, Berkeley, he joined Piececops and held a wide range of positions.
Later, driven by his passion for guitar making, he began building guitars in the 1970s after reading Irving Sloane's "Classic Guitar Construction."

A turning point at the Carmel Classic Guitar Festival

The 1977 Carmel Classical Guitar Festival was a crucial turning point for Ervin Somogyi. This festival provided an excellent opportunity for guitar makers and performers to gather, exchange ideas on new techniques and designs, and receive feedback. At this event, often referred to as the Olympics of guitar making, Somogyi gained a valuable opportunity to compare his techniques and designs to industry standards.
However, the feedback at the festival was not entirely favorable for Somogyi. The criticism of his work hit him like a broken guitar string. He realized that his techniques and designs had not yet reached the highest standards in the industry. Through this experience, Somogyi resolved to fundamentally re-evaluate and improve his techniques and designs.
He actively learns new technologies and theories, and adopts innovative approaches that are not bound by existing methods.RecruitHe dedicated himself to this endeavor. He made every effort to re-evaluate and optimize every aspect of guitar making, from wood selection and acoustic design to aesthetic sensibilities. Particularly noteworthy were the technical innovations, such as the bracing of the top wood based on acoustic theory and the introduction of the mortis and tenon joint, an improved version of the dovetail joint.

Humorous

Ervin Somogyi possesses not only technical excellence but also an exceptional sense of humor. His humorous side is evident in the numerous anecdotes and jokes he tells, adding a unique flavor to the guitar-making process. He cites the "Hindenburg" and "Titanic" as his "legendary" guitar models, describing them as if they were failures. He also proudly recounts achievements unrelated to guitar making, such as his "honorable mention in a pumpkin carving contest," infused with self-sarcastic humor.

His fictional specifications and disclaimers regarding his guitars are also humorous. For example, he describes a guitar as having a "purely explosive sound" and warns users to "beware of heart attacks and hair-raising experiences," characterized by a mix of exaggeration and satire. Somogyi also highlights the uniqueness and creativity of his career by sharing anecdotes about the "success" of fictional bands and non-existent guitar models. These stories demonstrate that his guitars are more than just instruments, but works of art imbued with his personality and creativity.

Particularly interesting is the karmic retribution he experienced during his affair. One night, Somogyi and his girlfriend mistook white glue for massage lotion in the dark. The next morning, they were stuck together by the glue and had to call the fire department to separate them with a hose. This incident occurred in a small town and was so embarrassing that the townspeople gathered to watch the commotion. He recounts this episode with great humor as "the most embarrassing moment."

His blog and biography are filled with these humorous anecdotes, offering a glimpse into his approachable personality. Owning a Somogyi piece is also about sharing in his philosophy and sense of humor. For more details, please see his blog and humorous biography.

A philosophical approach to fingerstyle players and the development of Modified Dreadnought (MD)

The Modified Dreadnought (MD) features a slightly slimmer body compared to traditional dreadnought guitars, with a more clearly defined waist. This design significantly improves comfort when holding the guitar and reduces fatigue during playing. The waist's contour not only provides visual appeal but also has acoustic importance. This feature enhances the guitar's responsiveness, resulting in a clearer and more balanced sound.

Ervin Somogyi has a profound philosophical approach to fingerstyle playing. His guitars are designed to create a sense of unity between the player and the instrument, with the guitar itself becoming a partner that maximizes the player's musical expression. His goal is for the guitar to respond as if in dialogue with the player, bringing the music to life.

I myself own a Modified Dreadnought made in 1998. This guitar uses Sitka spruce for the top and Brazilian rosewood for the sides and back. From around this time, double layering was used for the sides.RecruitAlthough it is sometimes done that way, this particular guitar is made of solid wood. To be honest, before encountering this guitar, I was indifferent to Somogyi and only knew him as "someone amazing."

However, the moment I picked up this guitar and played a single note, I was instantly captivated by Somogyi, and my intellectual curiosity became irrepressible. The sound was closer to a percussive instrument like a harpsichord than to a stringed instrument, something I had never experienced before, and I couldn't help but feel deeply impressed. Furthermore, I was impressed by the artistic aspect, which is Somogyi's policy, and I felt that the inlays and decorations of this guitar shaped its sound.

Somogyi himself says that the inlays and decorations don't affect the sound, but to me, it feels as if the guitar itself has a soul, and I get a live, almost living quality from it.

Views on top wood thickness and tonewoods

The thickness of the top wood significantly impacts a guitar's acoustic characteristics. Somogyi possesses the skill to maximize a guitar's acoustic performance by optimizing the thickness of the top wood. He understands that excessively thick top wood results in a dull sound, while excessively thin top wood results in an overly bright sound, and he is dedicated to finding the right balance. Somogyi's obsession with tonewood selection is like that of a jeweler selecting the finest diamonds. He has a deep understanding of the acoustic properties of various woods and is intimately familiar with the tones each wood brings to a guitar. He is dedicated to selecting the highest quality tonewoods and designing and manufacturing guitars that maximize their characteristics.

Furthermore, Somogyi evaluates tonewoods using their Quality Factor (Q-factor). The Q-factor is a dimensionless quantity that indicates the vibrational 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 rate of energy loss within one period. A high Q-factor means that the object can maintain vibration for a long time and that there is little energy loss.

In guitar making, the Q value is extremely important in evaluating tonewoods. Woods with a high Q value have a long sustain and provide a pure, clear tone. This allows the player to enjoy the maximum length and clarity of the sound. Ervin Somogyi has a deep understanding of this Q value and uses his skills to select the optimal tonewoods in guitar making and maximize their characteristics.

Design and Technology

Air pump analogy

In Ervin Somogyi's philosophy of guitar making, the analogy of a guitar as an "air pump" is considered extremely effective in understanding the acoustic properties of a guitar. Somogyi uses the concept of an "air pump" to explain how the top and back of a guitar receive the vibrational energy of the strings and release it outwards as sound. This analogy suggests that a guitar is essentially a machine for moving air, and that its efficiency depends greatly on the design and materials of the guitar.

Specifically, the top and back of the guitar effectively transfer the energy of the strings to the air and radiate it as sound waves. The guitar bridge plays a major role in transferring the energy of the strings throughout the guitar, pushing air out by moving up and down like a pump. This movement is part of the mechanism that generates sound, and how each part of the guitar resonates with the others determines the sound quality.

Now, I'd like you to use your imagination a little. The way the top and back of the guitar "receive" the vibrations of the strings and move the air is like the action of a pump. Somogyi guitars function like precise air pumps, generating sound. Imagine the top and back capturing the vibrational energy of the strings and sending it out as waves of air. It's like a small factory running at full capacity.

Somogyi's philosophy is to view the guitar not merely as a musical instrument, but as an acoustic machine, thereby pushing its design and manufacturing techniques to the extreme. This perspective creates the unique acoustic characteristics and artistic value of his guitars. He emphasizes that "how effectively air is moved" in guitar making directly impacts sound quality, and through this approach, his guitars possess acoustic performance that sets them apart from other guitars.

Playing a Somogyi guitar is like operating a small engine. His guitars, like intricate pumps that move air, receive energy from the player's fingertips and transform it into beautiful music. Therefore, when a player picks up a Somogyi guitar, they become not just a musician, but a maestro creating music.

Neck joint

Ervin Somogyi's neck joint technology sets it apart from typical steel-string guitar techniques, boasting a precise and robust construction. Somogyi uses a mortis and tenon joint.RecruitFurthermore, the neck and body are integrated to the utmost degree. The mortis (recess) and tenon (protrusion) interlock precisely, resulting in a strong and stable joint. This process makes the neck and body perfectly one, allowing the entire guitar to function like a single, perfect machine.

Furthermore, he uses a custom jig to support this joining technique. This jig is designed to precisely align with the guitar's centerline, optimizing neck alignment. This custom jig is like a magic wand for the guitar maker.

This maximizes the guitar's acoustic characteristics and improves the player's responsiveness. No matter how delicate the sound, the guitar responds instantly. When you play a Somogyi guitar, you'll feel as if the instrument is reading your thoughts. An invisible bond is formed between the player and the guitar, and music flows freely through that bond.

Advantages of Mortis and Tenon Joints

• Due to the large contact area, the force is distributed evenly.
• High-precision interlocking minimizes loosening.
- Using adhesive further increases the strength of the joint.
- Structural support is provided to prevent wood from cracking.

 

Advantages of dovetail joints

- The wedge shape provides extremely high tensile strength.
• It has self-holding properties and exhibits high holding power even without adhesive.
- Possesses decorative beauty and is visually appealing.

Bracing

Ervin Somogyi has a deep understanding of the importance of bracing in the transmission and resonance of acoustic energy. His designs aim to efficiently transmit sound vibrations across the entire top plate, striving for uniform resonance. The placement and shape of the bracing are designed to ensure that acoustic energy is transmitted without waste.

Somogyi's bracing is like a sonic navigator, guiding sound vibrations so they don't get lost. The cleverly designed bracing directs acoustic energy across the entire top plate, enriching the guitar's sound. He believes that bracing ensures the guitar's strength while avoiding excessive weight. This allows the top plate to vibrate freely, producing a rich and responsive tone. This balance ensures both acoustic performance and durability. His bracing, like a hidden blueprint within the guitar, maximizes the quality of the sound.

Furthermore, Somogyi uses tap tuning to determine the position and thickness of the bracing. This technique involves tapping the top plate, listening to the resonant sound, and adjusting the bracing to achieve optimal acoustic characteristics. This tap tuning is a moment when the instrument speaks for itself, a process in which Somogyi communicates with the guitar to find the optimal bracing.

coating

French polish, with its extremely thin layer covering the guitar's surface, does not hinder the vibration of the top and back plates. In contrast, lacquer and other finishing methods create a coating that suppresses the guitar's vibrations and inhibits the transmission of acoustic energy. This difference is what determines the superior acoustic properties of French polish.

Somogyi has observed that the tap tone of lacquered guitars is significantly diminished compared to unfinished guitars. It's as if the guitar has "suffocated." On the other hand, guitars with a French polish retain their tap tone well, preserving the "lively" acoustic properties of the top and back. This allows the player to enjoy a richer, deeper tone.

Double Layer

Ervin Somogyi's guitar workshop was once completely destroyed by fire, and this tragic event ultimately led to the creation of his double-layered side construction. The loss of his workshop meant the destruction of many tools and materials, forcing him to start anew. Some of the wood was even perforated by the fire, and Somogyi sought ways to utilize this as tonewood. This resulted in the birth of the double-layered construction. While plywood is typically composed of three layers, as the name "double-layered" suggests, Somogyi uses two layers of the same type of wood. This technique is also used in the world of classical guitars.RecruitIt is something that is done.

Somogyi discovered that a double-layer construction significantly improves the overall performance of a guitar. Using two layers of wood allows for more efficient sound transmission, increases the durability and structural stability of the sides, and results in a richer, clearer sound. This idea, born from the adversity of a fire, symbolizes Somogyi's innovation and adaptability. Somogyi's designs aim to maximize acoustic properties. The double-layer construction makes the sides of the guitar stronger and amplifies sound resonance. The advantages of the double-layer construction are not simply a cost-saving idea; rather, it incurs additional costs.

There are many other elements that define Somogyi's philosophy and sound, but here we will only share a few of them.

The philosophy of craftsmanship and the guitar as an art form

Ervin Somogyi's guitar making transcends mere craftsmanship, reaching the realm of art. His philosophy is not to view the guitar merely as a musical instrument, but to pursue acoustic and visual beauty. Throughout the entire guitar-making process, Somogyi combines metaphysical methods with profound philosophical inquiry.

Somogyi believes that the sound of a guitar is not merely a physical vibration, but an expression of the soul. His metaphysical approach aims to draw out the essential "existence" inherent in the materials themselves during the guitar-making process. His technique is concentrated on ensuring that each part of the guitar harmonizes to produce a sound that is a unified "existence."

He dedicates himself to bringing out the full "voice" of his guitars. Designed so that each part harmonizes with the others and functions as a single work of art, his guitars feel like living organisms. Somogyi's goal is to create guitars whose beauty and superb acoustic properties can be felt the moment the player touches them.
His inlay work goes beyond mere decoration, enhancing the overall aesthetic unity of the guitar. Somogyi believes that a guitar that is visually and aurally appealing provides a richer experience for the performer. The moment a performer picks up one of his guitars, they will feel as if they have acquired a first-class painting.

This fusion of metaphysical methods and art sets Somogyi's guitars apart from those of other makers. As a result, Somogyi's guitars become irreplaceable partners for the performer and are cherished for a long time. His guitars are not just instruments; they are beings that weave stories together with the player.
His role as an educator is also an extension of this philosophy. Somogyi is passionate about passing on his techniques and philosophy to young luthiers. His workshops and classes have influenced many people and have undoubtedly contributed greatly to the development of the art and technique of handmade guitars. His students, while inheriting his teachings, are also forging new paths in guitar making by utilizing their own individuality and creativity.

Holding a Somogyi guitar is like holding both the history and the future of music in your hands. The luthiers who studied under him are also passing on his philosophy and techniques to the next generation, illuminating the future of guitar making.

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Overall

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

It is rare to find a luthier who speaks of philosophy with such confidence about his own work as Somogyi. His approach, which is more like a dialogue with the guitar than simply making it, provides the owner with value beyond that of a mere possession. Holding one of his guitars, you almost feel as if the instrument is speaking to you, saying, "Hey, what song are you going to play today?"
His existence is an eternally shining legacy in the world of guitar making. His works, which embody his philosophy and vision, will continue to inspire and move many people for years to come. Ervin Somogyi's guitars are more than just instruments; they are a kind of magic, and the moment you hold one in your hands, you will nod in agreement, thinking, "Ah, so this is what a guitar is."

Born in 1944, Somogyi is 80 years old as of 2024 and has a pacemaker implanted in his heart.
I sincerely wish to be exposed to his new philosophy for as long as possible—for a year, a month, or even a single day.

Advance Guitars
Naito

References
Making the Responsive Guitar
The Responsive Guitar

source
Ervin Somogyi - https://esomogyi.com

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