Michael Cadiz – Luthier – Seattle Washington

To me, guitar making is about entertaining the basic creative impulse to imagine something perfect and then attempt to bring it into the material world knowing full well that it isn’t really possible. It’s like trying to hone the perfect edge on a chisel or plane blade. In our minds, we can conceive of an infinitely subtle edge, but in reality it can’t really exist. If we magnify it enough, it will look crude and dull. We are limited to the physical properties of our materials, tools and our ability to use them. Never the less, we keep trying. We can always do a little bit better if we pay more attention; a flat surface could always be a little bit flatter, a miter a little bit tighter and a finish a little bit cleaner. This is the challenge and the struggle of lutherie.

 

Michael Cadiz in his workshop

Michael Cadiz in his workshop

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Michael Cadiz Classical Guitar #44

I aim to build each guitar with as much intention as possible. I use the best quality materials available and put an emphasis on simplicity, beauty and durability. My methods are relatively traditional on the whole. I use mainly animal hide glue, french polish of shellac finish and pumice for pore filling.

I don’t believe that one style of guitar is inherently better than another. Every musician has varying needs from his or her instrument and, likewise, every instrument has requirements from its musician in order to sound its best. That being said, I am personally most intrigued by a few types of classical guitar construction. The first is the very elegant late nineteenth-century style of guitars built by Antonio de Torres. When made right, these can be some of the lushest, most intimate and lyrical instruments. On the more contemporary side of the spectrum, I have been inspired by builders such as Robert Ruck and Antonio Marin Montero. With my concert model, I endeavour to build an instrument with the brilliance, balance, timbrel pallette and full dynamic range that players value in a concert instrument. At the same time, I always prefer my instruments on the lighter side and to still breath somewhat like a traditional Spanish guitar.

I currently work out of a small studio in Seattle, Washington. I am mostly self-taught as a luthier, but I owe a huge amount of thanks to Robert Ruck, Rick Davis, Greg Oxrieder, Michael Nicolella and Bill Clements, who have helped me quite a bit through this process.

– extracted from Michael’s website

Michael is an extraordinary young man.  Focused and quite talented.  His guitars are a thorough reflection of himself.  Bright, bold, focused, lyrical and expressive instruments are his trademark.  His workmanship is exemplary.  Cleanliness of lines, internals, and finish especially, are astonishing.  Clearly taking his work to heart, he is a luthier I am happy to represent, knowing the continuing future with him is very bright indeed.

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