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V O L . X X V I N O . V M A R C H 9 , 2 0 2 0 22 M A N U F A C T U R I N G F O C U S Maine MEP is the most comprehensive resource available for manufacturers in Maine. Our network of experts help manufacturers get started, address workforce challenges, develop and maintain quality management systems, build leadership, implement innovations, meet safety requirements, prepare for critical transitions, optimize productivity and grow profits. We Teach Manufacturing Please call us to discuss your business needs 207-623-0680 or visit www.mainemep.org » C O N T I N U E D F R O M P R E V I O U S P A G E "ere's a growing market in South Korea and China now, and Japan has always had a fanatical gui- tar market," he says. Eric Clapton effect When Slobod started, most small builders were making Martin- inspired instruments, he says. en other makers started producing their own designs. "Initially, you'd see inelegant designs and not-good craftsmanship," Slobod says. "at gradually changed. Now we're in a full-blown renaissance of guitar artistry. People are pushing the envelope in design and technical aspects to get noticed." at works for Slobod, whose vin- tage style now stands out. What's driving the renaissance? "Baby boomers," he says. "ey were interested in acoustic guitars when they were kids. ey listened to the Beatles and Joni Mitchell." Slobod says acoustic music got reenergized by Eric Clapton's 1992 record "Unplugged" and the 2000 movie "O Brother Where Art ou?" Consumers are willing to pay more for good instruments. "Some of my friends were express- ing concern that, once the boomers die off, our industry is going to die," he says. "I don't believe that. ere are so many young people playing acoustic instruments now. ey can't afford a $12,000 guitar. But they'll keep the industry alive and, at some point, they'll have money to buy a hand-built instrument." Exotic woods Finding the right wood is integral to the business. Rzepka uses woods like African blackwood, cocobolo and Brazilian or Indian rosewood to custom-make about 10 classical guitars per year, priced between $6,000 and $8,000, for customers around the U.S. His violas da gamba, a cello-like instrument harking back to the Renaissance, go for $8,500 to $12,500. A set of Brazilian rosewood sides and back costs him about $1,500. "A fun part of the job is sourcing," Rzepka says. "It's like little treasure hunts. I get spruce from Switzerland, Italy and Germany; African black- wood from Mozambique; rosewood from Yucatan and South America. ere are a lot of amazing Australian woods. Western red cedar is usually from the Pacific Northwest. It's a global sourcing operation." e trick is finding the right piece of wood. Commodities like steel are consistent. "But every species of wood is dif- ferent," he continues. "Even in one tree, there's huge variety of quality." Sourcing is more difficult these days, due to international protections of endangered species. "Brazilian rosewood is famously problematic now because it's an endangered species," he says. Shaping sound At Slobodkin Violins in Bangor, Nathan Slobodkin uses traditional Dana Bourgeois Dana Bourgeois is owner of is owner of Bourgeois Guitars Bourgeois Guitars in Lewiston. in Lewiston. The company produces up to 400 The company produces up to 400 acoustic guitars a year for prices acoustic guitars a year for prices ranging from $7,000 to $30,000. ranging from $7,000 to $30,000. P H O T O / T I M G R E E N WAY

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