Life of a Luthier: An interview with Ms. Aubrey K. Alexander
- Tammy Takaishi, MT-BC
- May 5, 2016
- 4 min read
Have you ever wondered what it would be like to make stringed instruments?
I know I have! I recently interviewed cello maker Aubrey K. Alexander about her fascinating work as a luthier, a person who makes stringed instruments. The job of a luthier is full of rich history, and intrigue, dating back hundreds of years. Famous luthiers include Antonio Stradivari, Guarneri Del Gesu, and Nicolo Amati to name a few. Ms. Alexander is a Woodworking Instructor at the Violin Making School of America, and continues to make violins and cellos. Pop over to Ms. Alexander's lovely website and make sure to follow her on her instagram account as well! Links found just below, and also on my LINKS page.
How did you get interested in becoming a luthier?
My Mom took me to see a local violin maker once, to pick up my sister’s violin. I don’t remember it, but apparently I was fascinated and made a beeline for the tool rack. It’s always been in the back of my head. I wanted to start studying right after highschool, but my father wanted me to get a degree first, so I did. That was very helpful in hindsight.
What was the first instrument you made? Do you ever feel sentimental over the instruments you create?
It was a violin. At the time I was very emotionally attached to it, but not so much anymore. It’s owned by a University, and if they ever wish to sell, I’ll buy it and hide it in my attic. I do feel very connected to the cellos I’ve made, because I play cello. They’re my babies.
Some musicians name their instruments, do luthiers name their instruments?
I usually do, but I don’t often disclose that to the players. I made twin violins a few years ago, and named them Josephine and Persephone. I named my latest cello Orpheus.
In your opinion, what's the best part of making an instrument? What's the hardest part?
Bassbars! I love bassbars. If I were living in 1900 Mittenwald I would have only ever made bassbars. The most challenging thing for me is letting tool marks go, even if they are beautiful.
What advice would you give to people interested in becoming a luthier?
Don’t go it alone. Poor training can derail even the most talented beginner. You can enroll in one of the schools or find a great (not just good) maker that is also a great teacher. Having previous music, woodworking, or other artistic experience can really help, but isn’t necessary. Also, don’t go crazy buying tools that you don’t need. Stradivari didn’t have electricity!
If a musician wants to tinker with their instrument, where do you suggest they start, or should they? I would strongly discourage musicians from tinkering with their instruments, even if they have received training from a reputable luthier. What may seem harmless, like polishing the varnish or knocking the soundpost around, can cause serious damage if done incorrectly. I once was woken by a 3am phone call from a friend who had stood on a chair at a gig, fallen, and kicked his cello a short distance. His soundpost had fallen over and he managed to stand it up on his own, but I still recommended a luthier near his next gig.
Do you have any favorite luthiers? Have you visited any luthier shops?
I have a very long list of luthiers whose work I admire. Fortunately a few live near me and I can take my work to them for feedback and advice. Many more I see in the summer at the VSA Oberlin Violin Maker’s workshop. I love traveling to visit friends and working on collaborative instruments. It keeps your eyes fresh and your soul young.
There are exciting advances happening regarding instrument making today, such as electric-acoustics, carbon fiber instruments etc. Can you speak to those and how the field is changing and where it's keeping its traditional origins?
Yes, some of these developments are great for players in non-traditional settings, like violins and cellos in mainstream bluegrass or pop music. Violin making today is still a very traditional discipline, so there isn’t much crossover. That doesn’t mean things aren’t changing. One great new development for makers is the availability of high quality ebony substitutes, and some well known makers are already using these materials for fingerboards.
What misconceptions do people have about being a luthier?
There is no “secret.” It takes a lifetime of learning, patience, and practice. (Also coffee.)
Some people, don't like modern instruments and others swear by them. What advice would you give musicians looking for "the one?"
I’m of course in favor of modern instruments, but I don’t believe that one violin can work for everyone. Musicians shouldn’t have their heart set on just one thing, one maker, or one century. Everyone is different and what works well for you may not work for your best friend or your stand partner. Also, buying a violin when you’re 23 doesn’t mean you have to play it for the rest of your life. Keep your mind and your ears open.
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