The Art of the Inlay - Small-Body Guitars - Taylor Guitars
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The Art of the Inlay
Inside
Taylor’s
aesthetic
evolution
Small-Body The Ebony
Guitars Project Grows
2 www.taylorguitars.com
Letters social
Email us
taylorguitars.com/contact
circles
a laminate, and at a price point that is but they are well above my budget, as
pretty amazing. I am a working (but non-professional)
Join the Taylor community
Sound. To. DIE. For. Right out of freelance musician. Nevertheless, the
the box. No waiting 10 years for the Facebook: @taylorguitars
327e simply blew me away, as it is
sound to open up. Alternate tunings a very warm-sounding instrument. I Instagram: @taylorguitars
African-American for this guitar surviving and even more sound breathtaking, especially double had seen some tests on the Internet @taylorespanol
Music Appreciation grateful for your company putting so drop D; Neil Young’s “Don’t Let It Bring where the V-Class instruments were Twitter: @taylorguitars
Thank you for [last issue’s] won- much work into your instruments and You Down” will make you cry. Stays in described as having “marginally less YouTube: TaylorQualityGuitars
derful celebration of African-American cases. I will always purchase acoustic tune. Good reproduction of the acous- bass response,” but the bass response
music! Absolutely beautiful. It is not guitars from your company. tic sound when pickup used. On top of my 327e contradicts that — it booms
talked about enough, and I have sent Marcelo Gazel Drummond Costa of that, I’ve never had what I consider like my old [other brand], but in a more
links to it to all my students, friends a “beautiful” guitar, but I do now. The balanced way, without overpowering
and anyone who will listen. As a white surface work is immaculate (and appar- the trebles! Lovely in fingerstyle, and
musician and teacher, I have deep Living Up to Our Reputation ently sweat-resistant!). just as nice with a pick. these new ones exceeded all of my
regard for African-American musicians I simply want to thank you for pro- Also, the staff at Music Villa couldn’t While I more or less stopped using expectations and renewed my enthusi-
and everything they have brought to ducing such fine products. I purchased have been more helpful. Their selection picks about 10 years ago, as I found asm in playing fast articulated (acous-
us. Would there even be a genre we a 414ce-R in February. I am in love with of instruments was unparalleled. Gino, that the standard picks, no matter the tic) guitar solos, something I haven’t
could call “American Music” without the my guitar. It sounds so good. Its quality Paul, Abel and Josh were very thought- thickness, material or brand, made me done in more than ten years.
profound contributions of our Black and is superb. I took a chance by ordering ful and pleasant and always available. sound shrill and brittle, I happened to While Taylor is a leading manufac-
Brown brothers and sisters? the guitar without playing the specific They set me up with a sound room with see that Taylor also has picks on offer. turer of the finest acoustic guitars in the
Tom McMail one I bought. Your reputation inspired any and all guitars I wanted to play. I ordered some six-packs of various world, I do appreciate that you devote
my trust. I was not let down at all. Seri- They let my friend and I drive them nuts materials and thicknesses and, lo and time and energy to something as hum-
ously, I’m very grateful. over two visits for a grand total of six behold! The Thermex variety made my ble as a pick. This is where our tone,
Fire Escape Casey Hancuff hours before I finally was able to make jazz boxes sound like a dream, and the our voice as a musician, starts. What-
I wanted to thank you for the quality a decision. Awesome! acoustics came alive like never before, ever expensive woods and pickups you
of your products. I recently bought the Please accept my thanks. sounding warm without losing clarity attach the strings to, if what triggers
214ce-K and fell in love with the guitar. Another Happy Owner Robert Roeper and focus. the strings to vibrate in the first place
Unfortunately, this week my family and Why is my Taylor 214ce so vastly Missoula, Montana Of course, being a player for nearly does not sound OK, these technolog-
I suffered a devastating house fire that superior in every way to every other gui- 50 years, I was well aware that thick- ical wonders and woodworking skills
destroyed all of my and my father’s tar I own, especially much more expen- ness and material of a pick have a huge can only amplify those horrors.
musical instruments and equipment. sive electric guitars? Taylor offers instru- This Is the One influence on the sound of a guitar. But Marc Steenhaut
Once the fire was put out, a firefighter ments going up to 10 times the cost I’ve owned a few guitars, never any-
brought the guitar in the case outside of this guitar? How much better can it thing high-end, and actually had to stop
the house. The cover was burnt, cov- really get? How can I purchase an elec- playing for a couple of years due to
ered in soot, smelled like smoke, and tric guitar that has the kind of precision arthritis. Then, with the magic of meds
was soaking wet from the fire hose. and response that my little Taylor 214ce and a great rheumatologist, I was able
has? What does it feel like, knowing you to start playing again. During my hiatus,
are the best instrument company for gui- I didn’t notice that the neck on my gui-
tars, bar none? tar got badly warped, so time for a new Explore our Digital Edition
Jared Thompson one. I had read about guys picking up a
guitar and thinking, this is it, this is the Beyond the print edition of Wood&Steel, you’ll
one, the guitar I have looked for all my find related video content in our digital edition,
Fortunate Find life. I bought a GS Mini Rosewood, and
accessible for free at taylorguitars.com
On December 6 of last year, you this is it, the tone is as good as possi-
built a 224ce-K DLX model with solid ble, and the ease of play is as good as (look under Owners in the menu bar) or here:
koa top. Sometime between then and possible. While I no longer have pain woodandsteel.taylorguitars.com
now, the guitar went through an original from arthritis, my bent fingers don’t do
sale at Music Villa in Bozeman, Mon- my playing any favours, but the small In this issue’s digital edition, look for artist
tana. I am fortunate that the original neck makes playing at least possible,
purchaser apparently did not like the even if on some days, G7 or a barred F interview and performance videos, guitar
guitar. Who knows, it might have been are close to impossible. Thank you for lesson videos, a gallery of inlay photos to
a gift. putting a smile back on my face.
Last week, the first owner traded Gord Lefort
accompany our cover story, a fresh Spotify
it in on a Telecaster. His loss. I bought playlist and more.
this guitar the same day it was traded
I thought my new guitar was done for. in and feel very fortunate. I am also Great Guitar, Great Picks
However, thanks to the high-quality very fortunate to own an all-solid 1975 Greetings from Belgium. I just
Some of this video content is accessible from
craftsmanship you put not only into your Martin D-35, an all-solid early ’80s bought another Taylor guitar in the
guitars but also your cases, the guitar Gibson Dove, and a 1974 Ramirez 1a, unbeatable 300 Series. As I already these pages if you have a smartphone. Simply
was the only thing that survived. It just which has pear laminate sides. All three own a 314ce, a 355ce, and an Acade- scan the QR codes for instant access.
needed a little cleanup to get rid of the guitars have stellar sound and quirks my 12e-N, this is my first V-Class gui-
soot that seeped through and it was like all great guitars do. But you have tar, a wonderful 327e. If I were a richer
as good as new! I am beyond grateful created a spectacular instrument using man, I would have opted for a 524ce,
Contents WOOD&STEEL | V O L U M E 101 | 2021 ISSUE 3
Features Columns
4 Kurt’s Corner
Kurt recalls the factors that shaped the
development of Taylor’s Grand Concert.
5 BobSpeak
Bob talks about the importance of investing
in the inevitable and embracing change.
29 The Craft
One of the best ways to strive for
6 Supplier Spotlight: Madinter sustainability is by building quality
Taylor has a special kinship with the Spanish supplier guitars that will last for generations.
of tonewoods and guitar parts. A leader in responsible
Departments
sourcing practices, they’re also our ownership partner
with the Crelicam ebony mill in Cameroon.
9 Ask Bob
Employee ownership, advice for young
Bob, learning from failure, ebony back
and sides, and curved braces.
26 Sustainability
After five years of steady progress,
The Ebony Project is expanding in
Cameroon thanks to an outside grant;
we’re planting koa in Hawaii; and we
10 Pandemic Pivot
continue to explore ways to reduce our
plastic footprint.
Forced to adapt to a new reality, artists continue to
learn new skills and explore fresh ways to express
themselves and connect with others.
30 Soundings
Guitars 4 Vets, a stolen guitar is found,
international artist roundup, news from
Nashville, guitar lessons and more.
33 The Taylor Line
18
by Series
A snapshot of our series framework,
tonewood pairings, and current models.
On the Cover
The Art of the Inlay
We delve into Taylor’s history of inlay design and the
14 In Praise of Small-Body Guitars
ways our aesthetic approach has evolved over the years.
34 TaylorWare
With their inviting proportions and responsive sound, All the latest Taylor accessories, including
our small-body guitar family has grown into a diverse straps, stands, picks, wall hangers, guitar
range of player-friendly instruments. care products, apparel and more.
4 www.taylorguitars.com
Volume 101
2021 Issue 3
Produced by the Taylor Guitars Marketing Department
Publisher Taylor-Listug, Inc.
Vice President Tim O’Brien
Director of Marketing Craig Evans
Editorial Director Jim Kirlin
Art Director Cory Sheehan
Graphic Designer Ryan Hanser
Photographer Patrick Fore
Contributors
Colin Griffith / Kurt Listug / Gabriel O'Brien / Scott Paul
Shawn Persinger / Andy Powers / Chris Sorenson / Bob Taylor / Glen Wolff
Technical Advisors
Ed Granero / Gerry Kowalski / Crystal Lawrence / Andy Lund
Rob Magargal / Monte Montefusco / Andy Powers / Bob Taylor
Chris Wellons / Glen Wolff
Kurt’s Corner Printing / Distribution
PrintWoods (Phoenix, AZ)
Translation
The Language Company (Bristol, England, UK)
Concert Overture
Kurt reflects on developing the guitar
shape that put Taylor on the map. Wood&Steel is distributed to registered Taylor guitar
owners and Authorized Taylor Dealers as a complimentary service.
When Bob and I first started Taylor dreadnought, established a few music suggesting we start offering our guitars
Guitars, we’d had very little exposure stores as Taylor dealers, worked with with pickups factory-installed, as their
to the world of guitars. We just knew a distributor for a few years to expand customers were requesting them. We Manage Your Subscription
what we knew, which were the guitars our dealer network, gone deeply into quickly began offering a Barcus-Berry
Subscribe
that came through our shop for repair debt and mostly paid it off, and bought under-saddle pickup.
To receive a subscription, please register your Taylor guitar at
and the few guitars that we made. out our partner. Along the way, we Not long after we introduced our taylorguitars.com/registration.
We’d inherited Sam Radding’s designs got feedback and suggestions from Grand Concert body shape, the trends
from the American Dream shop where dealers and musicians alike about how of cutaways, pickups and smaller-body Unsubscribe
we met, which were basically his inter- we could improve our guitars to better guitars converged. Coupled with To unsubscribe from Wood&Steel, please email
pretations of Martin dreadnoughts and fit their needs and had made several our easy playability, the demand for support@taylorguitars.com. Please include your
Gibson jumbos. Bob’s first high school improvements. our Grand Concerts exploded. We’d name and mailing address as they appear on this issue,
woodshop guitars were based on a Probably the earliest suggestion developed the right guitar to meet the plus the subscription number located directly above
Yamaha. came from Fred Walecki of Westwood needs of the modern fingerstyle player. your name.
So the first guitars we started mak- Music, who asked for a little brighter In fact, sales of our Grand Concert
Change of address
ing after we bought Sam’s shop were and “less dark” sound from our dread- guitars were largely responsible for our
To change your mailing address, please visit
dreadnoughts and jumbos. It was many nought. Bob addressed this in short growth over the next 10 years. We’d taylorguitars.com/contact
years later, after many trials and tribula- order, and tweaked the bracing to make designed a guitar that was uniquely our
“
own, aligned with trends in the market- Online
place, and filled a need that our guitars Read our digital edition and other back issues of Wood&Steel at
addressed really well. I’ve met many woodandsteel.taylorguitars.com
Not long after we introduced our Grand artists who began playing our guitars in
the late 1980s or early 1990s and who
Concert, the trends of cutaways, pickups gravitated toward our Grand Concerts ©2021 Taylor-Listug, Inc. All Rights reserved. TAYLOR, TAYLOR (Stylized); TAYLOR GUITARS, TAYLOR
QUALITY GUITARS and Design; BABY TAYLOR; BIG BABY; Peghead Design; Bridge Design; Pickguard
and smaller-body guitars converged. because they did so many things well
”
Design; ACADEMY SERIES; 100 SERIES; 200 SERIES; 300 SERIES; 400 SERIES; 500 SERIES; 600
for so many players. SERIES; 700 SERIES; 800 SERIES; 900 SERIES; PRESENTATION SERIES; GALLERY; QUALITY TAYLOR
GUITARS, GUITARS AND CASES and Design; WOOD&STEEL; ROBERT TAYLOR (Stylized); TAYLOR
The Grand Concert is the guitar
EXPRESSION SYSTEM; EXPRESSION SYSTEM; TAYLORWARE; TAYLOR GUITARS K4; K4, TAYLOR K4;
that put Taylor Guitars on the map. TAYLOR ES; DYNAMIC BODY SENSOR; T5; T5 (Stylized); BALANCED BREAKOUT; R. TAYLOR; R TAYLOR
It took us from a small company that (Stylized); AMERICAN DREAM; TAYLOR SOLIDBODY; T3; GRAND SYMPHONY; WAVE COMPENSATED;
tions, that we designed and introduced the guitar more balanced. The next could barely pay its bills to a sizable, GS; GS MINI; ES-GO; V-CABLE; FIND YOUR FIT; and GA are registered trademarks of Taylor-Listug, Inc. in
the United States and other jurisdictions. V-CLASS; NYLON SERIES; KOA SERIES; GRAND AUDITORIUM;
our first unique Taylor body shape — the suggestion came from Jack MacKenzie prosperous guitar company, well known GRAND CONCERT, TAYLOR SWIFT BABY TAYLOR; LEO KOTTKE SIGNATURE MODEL; DYNAMIC
Grand Concert. This was in 1984, and of McCabe’s Guitar Shop, who men- in the industry. Although our next guitar, STRING SENSOR; GRAND ORCHESTRA; GRAND PACIFIC; GO; TAYLOR ROAD SHOW; JASON MRAZ
Jim Kirlin’s feature in this issue, “Small tioned that some of his customers were the Grand Auditorium, launched us into SIGNATURE MODEL; NOUVEAU; ISLAND VINE; CINDY; HERITAGE DIAMONDS; TWISTED OVALS;
DECO DIAMONDS; SPIRES; and URBAN ASH are trademarks of Taylor-Listug, Inc.
Guitars, Big Appeal,” tells more of the asking for guitars with a cutaway. In the realm of a famous guitar brand and
story of its development. response, Bob designed our Florentine major guitar manufacturer, the Grand ELIXIR and NANOWEB are registered trademarks of W.L. Gore & Associates, Inc. D’ADDARIO PRO-ARTE
By the time we introduced the cutaway, which became popular Concert cemented our status as a pop- is a registered trademark of J. D’Addario & Co., Inc. NUBONE is a registered trademark of David Dunwoodie.
Grand Concert, we had designed our particularly on our jumbo guitars. ular guitar maker. Prices, specifications and availability are subject to change without notice.
first Taylor models starting with the 810 McCabe’s was also responsible for — Kurt Listug, CEO
5
“
We’ll continue to make great guitars,
even if our materials change slightly.
”
BobSpeak
Investing in the Inevitable
Adapting to change is one of the most important
skills we can master, both in business and in life.
As usual, there are a lot of projects In this issue, our cover story talks are not useful for inlay. The good news make great guitars, even if our materials which isn’t the case here in the States.
happening at Taylor Guitars these about pearly inlays. You know, I’ve said is that scientists are starting to take change slightly. You should visit sometime. Vidal, Luisa,
days. First of all, we’re months into over the years that my guitar-building farm-raised abalone and outplant them, I’m very involved with Scott Paul in Jorge, it’s a pleasure for me to have
our new ESOP with 100% employee career is being lived during a big tran- carefully placing juveniles into natural all our environmental programs. And I’m had all these years working together
ownership. What I love about this is sition period when it comes to natural environments, where they can grow to happy to say they keep growing. Here’s with you. Happy Anniversary!
all the conversations I’ve been having materials. Things are now changing maturity and hopefully help the species a tip: If you want a guy to help you get
with people in the hallways and at from what they were forever before recover. more and more involved in developing — Bob Taylor, President
workbenches. It’s abundantly clear to to what they will be for a long time to Fortunately, we have many ways to projects like these, just hire a former
me that when people feel like they can come. Living through the change is decorate guitars, and we love doing Greenpeace hippie and then let them
get ahead financially in their lives, they more difficult than living before or after that, and you seem to love owning work. All I have to do is say, “You know,
take a greater interest in the topic and the change. But I always say, “Invest in them. One day, you’ll also love guitars I’ve been thinking…” and Scott’s off
begin to change their habits. There the inevitable.” There’s no point denying with four-piece spruce tops, which you and running. He’s on it! It’s his nature
are so many questions coming my way what’s inevitable. may not even notice because we’ll do and profession. I hope you enjoy his
about saving for retirement, saving in There will certainly be less old- a good job with them, but they’re com- updates this issue.
general, investing and thinking more growth wood available to make guitars, ing our way. As I write this, changes Finally, I’d like to wish a sincere
purposefully about a personal contri- perhaps less abalone too, and fewer are happening where spruce grows in happy 20th Anniversary to my dear
bution to the success of Taylor in the chemicals that work well but are dan- Western Canada and the U.S. People friends, suppliers, colleagues and part-
daily actions one takes. It’s a powerful gerous. One thing to note is that the are finally coming to terms with the ners at Madinter. As you may know,
yet subtle shift in interest, because our future of mother-of-pearl is more prom- fact that you can’t cut all the available together we co-own the Crelicam
employees had already acted as though ising than abalone since a lot of oysters old-growth wood. Some, yes. All, no. sawmill in Cameroon. We’ve worked
Taylor Guitars was theirs. But now it is, are basically farmed and grow large as This is actually a step forward from the together very closely for the past
and that’s better. We started our ESOP they’re carefully tended in pearl-pro- days when mankind stopped cutting ten years (our tenth anniversary is
with healthy equity in the company, so ducing beds. On the other hand, the big trees only after the last one was November, 2021). If you live in the U.S.,
people saw a nice amount of money in abalone traditionally used for shell is cut. Now I see them hitting the brakes you may not know about Madinter, but
their accounts with the first statement. collected in the wild for its meat; the before it’s too late, and I say “bravo” go to Madinter.com and check them
What a way to spark more personal, shell is a byproduct used for inlay. to that. We can adjust. We’ll go with out. They serve guitar makers across
individual interest in being a solid These are mature abalone with fully it. You’ll go with it. Like my friend Eric all of Europe, and especially Spain. You
business that serves customers well, calcified outer shells. The meat from Warner of Pacific Rim Tonewoods likes can’t believe how many guitar builders
through operational excellence, for the farmed abalone matures far sooner than to say, “Adapt, migrate or die.” He’s there are in Spain. It’s the best! I mean,
benefit of all. the outer shell calcifies, so those shells right, and we’ll adapt and continue to everyone there knows a guitar builder,
6 www.taylorguitars.com
SUPPLIER
SPOT
LIGHT
Spanish
MISSION
Our Spanish supply partner, Madinter,
has grown into a respected name in the
music industry and a passionate leader
in ethical sourcing practices.
By Jim Kirlin | Photos: Eduardo Díez
Madinter’s management team (L-R): Jorge Simons, Vidal de Teresa, Miguel Ángel Sánchez, Luisa Willsher
W
hat could a veterinarian, a bartender and a dancer know about supplying Tell us a bit about the town of Yes, it’s a unique façade made solely in producing and selling parts for
wood to musical instrument makers? Actually, quite a lot, but 20 years Cerceda, where you’re located. of corten steel with a patina, which musical instruments.
ago, when their company, Madinter, was launched, there was still Cerceda is a small village of about imitates the silhouette of a coniferous In 2003, Miguel left Madinter to
much to learn as each pivoted to a new career path together. Co-founder, CEO 2,500 people located in the mountains forest, very similar to those we have in become a silent partner and created
and majority owner Vidal de Teresa (the veterinarian), Production Manager Jorge of Madrid, about 30 minutes from our surroundings. The pieces simulate another company dedicated to the man-
Simons (the bartender) and Sales Manager Luisa Willsher (the dancer), along with Madrid Barajas International Airport. tree trunks of wild pine, the most repre- ufacture of flamenco shoes, Calzado
co-founder and silent partner Miguel Ángel Sánchez, form the core management We are next to Sierra de Guadarrama sentative tree in the national park. We Senovilla. Due to his experience with
team for the company, which supplies tonewoods and finished parts to makers of National Park, in the north of the prov- wanted to make a small tribute to our guitar woods, he decided to use these
musical instruments, including Taylor. ince of Madrid, a unique location for forests and to wood. same woods and incorporate them into
Madinter and its 20 employees are based in the Spanish town of Cerceda, its natural environment. The Sierra de Our buildings have solar panels on the manufacture of the shoes. Today,
located in the province of Madrid, Spain — about 45 minutes from the city center. Guadarrama is full of stunning places their roofs to make our business more these shoes have a great reputation
You might recognize the name Madinter (a contraction of Madera, the Spanish due to its beauty and its geological sustainable and minimize our carbon and are worn by the best flamenco
word for wood, and International) from our reports on ebony in Cameroon, as and biological richness. Here you will footprint. We also burn our sawdust in dancers all over the world.
Madinter is our ownership partner in the Crelicam ebony mill. That partnership, find immense coniferous forests, high furnaces and use the heat for our kilns
now in its tenth year, is a testament to the shared commitment both companies mountain meadows, snowy landscapes, where we dry our wood and also to Vidal, you were a veterinarian,
have made to ethical sourcing practices, and to creating more sustainable forest enormous rocky peaks, streams, water- warm the buildings in the winter. so starting Madinter was quite
economies that support the livelihoods of the local communities involved in the falls and glacial lakes, making up an a career change. What was your
sourcing supply chain. environment of special natural value How was the company motivation?
Though a relatively small company, Madinter has grown in many ways over the that is home to endemic species and established? In 2001, after 11 years as a veter-
past two decades, leading the way in raising the standards of sustainability, legality some in danger of extinction in Spain. Prior to the founding of Madinter, inary surgeon, I sold my company and
and responsibility among timber suppliers. To help celebrate the company’s 20th Miguel had a company that sold wood found myself at a personal crossroads.
anniversary, we wanted to connect the Taylor community with our valued partner What might people find interesting to guitar craftsmen and also sold gui- I loved my profession, which had always
and spotlight the important role they play in supporting a vibrant global music com- about the design of your facility? tars, helping craftsmen export their been my vocation, but I had other
munity and responsible forest stewardship. For example, one of your buildings guitars to other markets. In 2001, passions outside veterinary medicine.
We chatted with Luisa and Vidal via email. They shared the personal journey has an interesting façade — it looks Miguel and Vidal founded Madinter, These included traveling, getting to
that brought each of them to Madinter and reflected on the company’s ongoing like an artistic interpretation of and Jorge and I joined the team shortly know the rainforests, and starting a
evolution in pursuit of its vision. tree trunks. afterwards. Now Madinter specializes new business venture. The world of
7
luthiery was not alien to me because and the hobbyist instrument maker. instrument, from materials and finished
when I was studying veterinary med- Our website has become a resource products to all kinds of components,
icine in Paris, Miguel would send me hub in the industry because we offer a accessories and luthier tools. There are
wood, and when I had time between large range of products and solutions. also many luthiers all over Europe, and
my studies and practice at the veteri- We cut the wood, dry it, process it, through Madinter.com we can reach
nary school, I would visit luthiers and make finished parts ready to assemble all of them. Our customer base has
offer them these woods. This brought instruments, and we also manufacture diversified enormously and continues to
me extra money and allowed me to dis- customized products for several clients. grow month by month.
cover the exciting world of wood, guitar We work with factories, workshops and
makers and music. makers all over the world. And for three Luisa, in a previous email you
The great master luthier Daniel years now, we have been distributing said that one of Madinter’s keys
Friederich was my first customer. I StewMac products in Europe, and we to success has been the ability
went into his workshop in the Faubourg are their sole distributor apart from to adapt to change. Can you
Saint-Antoine district, near the Bastille themselves. elaborate on this in any specific
in Paris. He was carrying a handful of
sets of rosewood sides and backs. I
was an inexperienced young man, but
very curious. He took exquisite care dancers but also studied other dance Your range of products and
of me and showed me the nooks and genres, and I immediately fell in love services has expanded a lot
crannies of his workshop and instruct- with flamenco. After visiting Spain a few over the years after starting
ed me on the wood I was carrying. It times for short dance courses, at 18, I exclusively as a wood supplier.
was a fairy-tale workshop, full of wood was offered my first job and moved to How has your business evolved?
aromas and shavings, of guitars in Spain knowing that I would never return In the beginning, we only sup-
the process of construction. That day to England for good. At 24 years old, plied wood to musical instrument
I became interested in learning more while rehearsing, I broke my foot. By this manufacturers. We started with half
about that trade, about those woods, time, Madinter was taking its first baby a dozen species of wood. Today we
where they came from, how they were steps with Vidal, Miguel and Jorge, and offer more than 40 different species
cut, how they were dried. That was the to keep myself occupied, I helped them for making musical instruments,
seed that ignited a passion in me and out, translating and writing to clients. especially guitars, and we also sup-
made me change my career years later Back then all correspondence was by ply components, accessories and
and start an exciting new story. letter or by fax. We bought our domain, tools. We have also become more
www.madinter.com, started writing specialized in manufacturing finished
Luisa, you’re originally from the emails, set up our first web page, and musical instrument parts using unique
UK and studied dance. How did began our continuous improvement. By and precise machinery, enabling us to
you get involved with Madinter? the time my foot was healed and I could add more value to the raw material.
I was born and raised in England, have gone back to dancing, I was so As a result, our business model has
and at 10 years old I went to a per- involved and enjoying the work I was changed a lot in recent years. We no
forming arts boarding school until I was developing at Madinter I never left. Now longer only supply musical instrument
18. We were trained mainly as ballet the only dancing I do is for fun. manufacturers, but also the craftsman
Spain has such a rich guitar-making ways? One thought that comes to
heritage, and as I understand it, mind is the way legal compliance
there currently are many luthiers requirements have changed
there. Can you provide some per- over the past two decades with
spective on that and how it impacts regulations like the amendment
your business? to the Lacey Act or changes in the
Spain is a country with a great tra- status of certain wood species with
dition in classical and flamenco guitar CITES or EU timber legislation.
making. We have a lot of guitar makers We have adapted to change in many
and very good ones. Over the last 10 ways over the last 20 years, but one key
years or so, we have seen many new factor was indeed our decision to focus
young guitar makers or even amateurs on legality. When the Lacey Act was
who are attracted by the do-it-yourself amended to include musical instruments,
culture and are starting to build instru- Madinter was already emphasizing the
ments. Many of them are attracted importance of our wood being legally
because they are musicians and would and responsibly sourced. So when the
like to know how to make the instru- industry realized that they too needed
ment they play, and others because to make sure that they were purchasing
they have a knowledge of cabinetmak- legal wood, Madinter had a solid due dil-
ing and would like to learn how to make igence system in place and vast knowl-
guitars and diversify their activity. In edge of compliance, CITES, etc.
any case, the determining factor in this Some other examples: In our early
explosion of new luthiers is Madinter years we set up our first online store at
and similar companies that have sup- Madinter.com, which no others had. We
plied a wide variety of products to visited Asia and started offering solid
the market, making it possible to find wood to Chinese factories before any
everything needed to build a musical of them even made solid-wood guitars!
8
We also broadened our catalogue to other sawyers and supply partners CFO Barbara Wight were meeting in
meet our clients’ needs and diversify in Cameroon? the Netherlands with their European
our business. We added components, We are very proud of this partner- distribution team. We called Bob a
accessories and tools, and we are very ship and how much we have achieved few days in advance and told him we
proud that StewMac trusts Madinter together. In just 10 years, we have wanted to present him with a business
to be their sole distributor other than changed many things and always for the proposal. We had spent weeks working
themselves. better. When we acquired Crelicam and on an elaborate business plan and had
Also, new luthiers were no longer the designed the logo, we also added a slo- a long presentation to make with a lot
sons of the older generations. They were gan that we have stuck to: Responsible of ideas and numbers. When we arrived
newcomers learning the trade, so we Trade. Looking back at what we have at the hotel where Bob was staying and
started to offer guitar-making courses. achieved together, we are very pleased. introduced the idea to him, he imme-
Together we have managed to get the diately cut the presentation short and
In addition to your range of industry to accept the ebony that it did said, “I like the idea, and we are going
products and services, what not use before because it was too light to do it together.” Half an hour later,
do you think sets you apart in color; we have improved the living together with Bob, Kurt and Barbara, we
from other companies? conditions of our workers, collaborators were planning our first trip to Cameroon.
Our vision as a company is to and the people who live around the fac- And so began this wonderful adventure.
lead the music industry in champion- tory; and we have improved the health, Working with Taylor Guitars has
ing a sustainable forest economy by technological conditions and profes- been the best thing that has happened
L-R: Ebony fingerboard blanks; Securing wood pieces on a fixture in a CNC mill;
Wooden knob blanks for electric guitars and amps; Top Right: Bridges for classical
guitars; Bottom: The Madinter team
maintaining the highest standards of sional qualifications of our employees.
sustainability, legality and responsibility And as the cherry on top, we have
in our timber sourcing. Right from the launched the Ebony Project in order to
start, we decided that we did not want plant and perpetuate the use of ebony
to be another company just cutting for future generations.
down trees. We wanted to do things During these years, we have also
correctly. To start with, we wanted to received recognition from the music
make sure every single piece of wood industry and from the governments of to us over the last few years. We have
was sourced legally, complying with the U.S., Spain and the EU, which have found a group of fantastic profession-
all national and international laws. This awarded and publicly acknowledged als and wonderful people. A special
should be obvious and standard, but our work in Africa. But the most import- mention must go to our great friend
unfortunately it is not. And then go a ant thing is that this is not over. We still and mentor, Bob Taylor — a wonderful
step further and make sure that the have many ideas, projects and improve- person with a big heart, with unique
environment, the people, are not being ments that we want to implement in the intelligence and brilliance, a tireless
harmed, and if we can, to have a posi- years to come. worker as well as a visionary in the
tive impact on the world. music industry. We have learned
What do you value about together and made mistakes together,
It’s not only Madinter’s 20th your relationship with Taylor? but we have always moved forward
anniversary this year, but also Often, we recall the first time we and will continue to move forward
the tenth year of Madinter and proposed the Crelicam acquisition to toward excellence.
Taylor’s Crelicam partnership. Bob [Taylor] and how he welcomed the
How would you reflect on what idea and his enthusiasm from the very
our two companies have managed beginning. Scan the code
to accomplish so far and what it In 2010 we went to Amsterdam for a video tour of
Madinter’s facility.
means for Crelicam employees and because we knew that Bob, Kurt and
9
Ask Bob
Employee ownership, advice for young Bob,
learning from failure, and curved braces
What differences have you noticed my older self is pretty pleased with my try. It costs little to try.” And their idea
since the employees took ownership younger self. Consequently, my answer worked very well, a huge improvement.
of the company? today is that I’d say something like, It cost nothing to try, and our company
Howard Forberg “Bob, you didn’t do too bad for a kid benefitted greatly from their idea.
who was a total woodshop and metal
Good question, Howard. Just minutes shop nerd, and who knew nothing about
ago, I had a conversation with one of guitars. Thank you for choosing that path
our machinists in the building I work in and getting my older self to this point. I Are there plans to bring ebony back
about their personal finances. This is a appreciate it.” and sides to more models?
continuing conversation that started the Josh Santiago
day after our announcement. He and his
wife have taken control of their finances
and keep making very positive changes
that he wanted to share with me. This
is almost a daily event now, because Have you guys ever experimented with curved
with ownership, most people here feel
braces in your acoustic guitars?
like they have an opportunity to do
well for themselves, and that changes Ron Wilson
their own habits and viewpoints here
and at home. These are some of the
best conversations I’ve ever had in the Hi Ron, we’ve made a few curved braces on test guitars
nearly half-century I’ve worked here at
Taylor Guitars. These conversations
over the years. We never found any substantial improve-
all naturally come around to the work ment that would offset the cost of producing such a brace
we do here as it provides the family
income to have the opportunity to in a factory situation. In fact, we preferred the function
build a solid financial life. This year has
brought high demand for our guitars, of a straight brace. There are some clever luthiers now
and our employee-owners across the
making good guitars with curved braces. I love looking at
company gladly put forth their very best
effort. It’s amazing to watch how much their work. But it’s not very practical for us.
is being accomplished. I’m pleased to
see people be even more interested in
the quality of products we produce and
what value we can offer a customer.
It’s a good atmosphere here at Taylor. What have you learned from trying Josh, we don’t have plans as of right Craig and Lisa, it would be hard for years ago. We get to make guitars with
It’s easy to engage in positive changes something (wood/process/whatever) now. There’s very little ebony that me to recommend what other manu- those trees thanks to them. I hope we’ll
when people feel a sense of ownership that, for whatever reason, just didn’t qualifies as side and back material, facturers should do. They all have their have the same effect on future guitar
and when they feel their name, their work? and together with our Crelicam partner, way of dealing with natural resource building. In a slight change of topic,
stamp, is not only on the guitar, but on Jim Flanigan Madinter, it makes more sense for them depletion, and I know it concerns them. I’d say that I would love to influence
how we conduct our business. to supply this wood to the small shops For me and for us at Taylor, we believe consumers on their own personal daily
Jim, I think I’ve learned to not predict and individual luthiers rather than use it in growing trees. It pleases us, and we habits. I’d start with how much plastic
the outcome, thinking I already know. in our factory. They’re beautiful guitars, see the sense in it. I think we’re onto is used in each consumer’s daily life.
I’ve learned to just test it. Often, we can and I’m sure we’ll see some limited something, and I suppose we’ll have
What would Bob today tell 1974 Bob? test things faster than we can pontifi- amounts here and there, but currently to come back in 50 years to see if we
Stephanie Dubick cate about it. I’ve learned to say, “Well, we have no plans to release an ebony were right. I know the British were right Scan the code to watch
Bob talk about Taylor’s
there are reasons why it might work and model. when they planted mahogany trees in wood-drying techniques.
Stephanie, this is a question I am being reasons why it might not work, so let’s Fiji as well as India about 75 or more
asked more often lately. At first, it took try it and see.” We recently had a major
me a little by surprise, and my mind breakthrough on drying wood. Two men
would run ahead in an attempt to say on our team, Randy Malaise and Gabriel With being good stewards of the
Got a question for Bob Taylor?
something profound. I’d try to think of Boquiren, suggested a change that I environment and caring for our natu-
impulses or frailties that I suffered from would have never suggested because I ral resources, do you consider Taylor
at an early age when starting Taylor was pretty sure the method I’d chosen to be the leader in this area for other Shoot him an email: askbob@taylorguitars.com
Guitars with Kurt that my older, wiser years ago was the right choice. This manufacturers of guitars to follow to
self would tell my younger self. I found had to do with what type of fan to use. ensure a sustainable future for gen- If you have a specific repair or service concern, please call
I was struggling to give an answer that I know a little about fans, and I had my erations to come? our Customer Service department at (800) 943-6782,
I truly believed after I was done saying doubts. At the end of my argument Craig and Lisa Dockstader and we’ll take care of you.
it. It may come as a surprise to find that against the change, I just said, “But let’s
GROWING Jim Ward
Photo: Ivan Pierre Aguirre
in Place How artists found inspiration
in isolation by looking inward
By Colin Griffith11
even as tools like YouTube, Sound- Ada Juarez (drums) and Edith Johnson New Jersey, so we had never really
Cloud and BandCamp grew in popular- (lead vocals) have been making music written songs in the same room before.”
ity with artists who had yet to break into together since 2017, but perhaps not in Though they moved into a house
the industry. In the pre-COVID world, the sense you might expect. Until this together during the pandemic, the
artists who made their bona fides in the year, the three musicians wrote and members of Meet Me @ The Altar say
“real world” carried an air of authentici- produced their songs over distances, their writing process barely changed as
ty and quality that “online” artists simply sending ideas, lyrics and instrument a result of their proximity.
couldn’t match. In a way, the tools parts back and forth over the Internet “Even though we moved in togeth-
that were supposed to democratize until they arrived at a finished product. er,” Ada says, “this way worked before,
music-making ended up pigeonholing Suddenly, their way of writing music so why would we try to change some-
young, creative and diverse musicians
“
into an online arena populated by rela-
tively small numbers of dedicated fans.
The passion was there, but the expo-
sure was not.
We were an Internet band for five years,
The pandemic changed all of that.
With major artists and up-and-comers so we had never written songs in the
alike forced off physical stages and
onto the Internet, the music of the dig-
same room before.
— Ada Juarez, Meet Me @ The Altar
”
ital world found itself on a level playing
field for the first time. What resulted
was an explosion of bands, songwriters
and solo musicians into the public eye,
many of them from backgrounds rarely
showcased in the musical mainstream.
became the norm, and as musicians thing that was working? So we still
Meet Me in the Living Room everywhere adjusted to this siloed style write in our separate rooms and then
Of the many artists that managed of creation, Meet Me @ The Altar found come together. We write lyrics in the
to capitalize on the conditions of the themselves with an enormous head same room now, but otherwise it’s the
pandemic months, pop-punk newcom- start. same as before.”
ers Meet Me @ The Altar have blazed a “We were an Internet band for like The “Internet band” effect made
particularly exciting trail. The trio of Téa five years,” Ada says. “I lived in Florida, an impact beyond the songwriting
Campbell (guitar, bass, 224ce-K DLX), Edith lived in Atlanta, and Téa lived in process, too. With plenty of experience
T
hough the COVID pandemic
may have temporarily emptied
music venues, it’s hardly kept
musicians quiet. During the isolation,
with an audience, along with a new
appreciation for what they do and a
fresh gratitude for the spaces in our
culture that foster music as a force of
the digital world exploded with creativ- community.
ity as artists adopted an array of tools
that allowed them to stay connected Digital Natives
with fans, make new music across Meet the Real World
distances, and collaborate with other Of all the consequences the music
musicians they never would have met world experienced due to the pan-
otherwise. Some focused on keeping demic, one of the most lasting is how
live music available for fans, staging it threw a spotlight on underexposed
livestreamed performances that ranged musical spaces as brick-and-mortar
from elaborate, professionally filmed venues put business on hold. In our
productions to simple bedroom jam story on the livestreaming boom from
sessions. Others focused on craft, the previous issue of Wood&Steel,
exploring new musical territory and writ- artists told us about the newfound
ing songs that reflected the pressures power of digital tools that connect
of the moment. Still others found the musicians to audiences across physical
pandemic a time for personal reflection, distance and restrictions on public life.
an opportunity to reexamine life and Livestreaming helped keep artists in the
grow a stronger sense of personal and swing of performing, even if that meant
musical identity. sitting in front of an iPhone camera with
In places where public life is just an acoustic guitar as fans tapped
reopening and live music is returning, out their digital reactions in the form of
artists have begun to resume the pursuit smile emojis and hearts. That develop-
of their musical calling. But to those ment has largely been a positive one
preparing to hit the road again, it’s for all sorts of musicians, and those
clear that things have changed — the with a strong foundation in social media
world of music feels different, as do had an even greater advantage as fans
performing and writing. And as musi- looked online for their live music fix.
cians find stages and begin filling seats It hasn’t always been this way.
with fans, many are doing so with new Major touring acts and established
ideas about what makes a good show, musicians have long held sway on the
a great song and a strong connection attention of the music-listening public, L-R: Meet Me @ The Altar’s Ada Juarez, Edith Johnson and Téa Campbell | Photo: Jimmy Fontaine12
taining a public profile and keeping fans you’re a social human being. It was hard
engaged online: It was about survival. to stay good in the head.”
Ward (Builder’s Edition 517, GT Despite the restrictions on public
Urban Ash) is a fixture in his home town spaces, Ward knew that keeping his
of El Paso, Texas. He’s deeply connect- head right meant keeping up with
ed to the city, its music scene and even music. Turning to songwriting, Ward
its food culture — Ward owns a restau- distracted himself with a new set of
rant in El Paso that was forced to close songs that would become Daggers, his
during the pandemic. As a person nat- latest solo album. Writing and creating
urally drawn to community, Ward says the album was a kind of therapy, he
that the events of the early pandemic says, one that both helped him manage
were devastating, both for him and the his mental state and expand his cre-
people around him. ative abilities.
“We immediately had to lay people “I’ve definitely grown as an engineer,
off,” Ward explains, “which is hard emo- because I was forced to engineer and
tionally and mentally. My band, Sparta, produce the album myself, where nor-
had a record that came out in April [of mally I would have relied on other peo-
2020], and I like to say it came out to ple,” he says. “When the tools that make
crickets. We canceled tours and had to your job easier disappear, you’re forced
furlough crew like everyone else.” to learn new things. I came out of it with
Without the natural outlet that a renewed DIY ethos in my life.”
creative work provides, Ward says, he But self-reliance only goes so far.
struggled through the early days of the Learning new musical skills is one
pandemic. thing, but it’s not a substitute for human
“Lockdown is hard on you as a interaction and connection, especially
human being,” Ward says, “especially if for someone as involved in the com-
navigating the digital realm and engag- matured through our songwriting. Now, improved songwriting and a better
ing with fans over the web, COVID everything we write tops what we did sense of identity as a band. But not all
helped set the conditions for the band’s before.” of today’s musicians were born into the
dramatic spike in recognition. The trio The work paid off. The band says digital ecosystem. For those who have
had planned to start touring in 2020 they blew up during the pandemic, put decades into a more traditional
and 2021 — instead, they wound up at going from 3,000 followers to over approach, the pandemic represented a
home, where writing songs was essen- 50,000. Though it’s a bit strange not different challenge: How do you adapt
tially the only creative outlet. Stripping being able to actually see that growth to the times without losing yourself?
away the “traditional” elements of the in the form of bigger audiences at
music industry had a way of making shows, their connections with fans Scan the code for exclusive
artists refocus on the essence of their online has helped them get a better video content featuring
craft. For these three, the pandemic sense of where they fit into pop culture Meet Me @ The Altar.
was a pressure cooker that helped in general. They credit some of their
them grow in both skill and confidence. growth to a changing society and evolv-
“Quarantine changed a lot for us,” ing attitudes that increasingly demand
Téa recalls. “If it weren’t for quarantine, greater inclusion of women musicians Turning Music into Community
we wouldn’t really have had time to sit and artists of color. As a trio of women Closed venues and cancelled shows
and think about the direction we want of color, Meet Me @ The Altar found were the most obvious signs of trouble
to go and how we want to evolve as a their moment. within the music industry during the
band.” “A lot of things were happening pandemic, but another challenge had
Instead of touring, Meet Me @ The during quarantine — social issues, Black a quieter, but no less significant effect:
Altar doubled down on songwriting. Lives Matter, George Floyd’s death,” mental health. Isolation, unprecedented
Instead of livestreaming, as so many Edith says. “But since people really economic pressure and ongoing social
artists did during isolation, they wrote. couldn’t do much, they really had time change put a strain on many over the
Save for a streamed show in partner- to think about the world. People started past 18 months, including artists whose
ship with Wendy’s restaurants, Meet thinking about Black life and Black art. primary source of emotional, social and
Me @ The Altar looked to each other, We were right there, and since our creative catharsis — not to mention
focusing on shaping their voice and music is actually good, people stayed.” financial stability — was dramatically cut
developing an identity as musicians. By zigging where others zagged off without warning. For former At the
“The more you write, the more during the pandemic, Meet Me @ Drive-In co-founder, current Sparta gui-
comfortable you feel,” Edith says. The Altar found a perfect opportunity tarist and longtime solo songwriter Jim
“Quarantine was a blessing in disguise. to build on their success and follow Ward, holding on to music through the Photo: Christ Chavez
It helped us come together, and we their explosion of popularity with pandemic was about more than main-munity as Jim Ward. In the absence
of chances to meet and greet fans at
In a world that has grown far too used
to seeing its young artists spiral out of Q&A: Oritsé
shows, Ward found himself forging control, there’s something special about
relationships with fans online, often fans creating spaces that encourage honesty
he would never have had a chance to and authenticity. On that subject, Ward
meet otherwise. And it didn’t stop with speaks from personal experience.
Instagram conversations with fans as “I honestly believe the early part of
scattered as Australia and Moscow. my career would have benefited from
Soon, the drive to preserve some sense someone saying, ‘It’s OK to not feel which was a completely new expe-
rience for me. There’s nothing like
being in the studio with everyone
in the same room, but it didn’t
stop me from being productive.
Some of the songs that I wrote
“
over the Internet with musicians
around the world will feature on my
band’s new album.
The truth is, a lot of us make music because Do you feel like you’ve grown
we’re trying to figure out how to feel better.
”
as an artist in tangible ways
Photo: Kazz Kumar
— Jim Ward during the pandemic?
I’ve definitely grown as an artist
The British pop star tracks new in so many different ways. I started writing spoken-word
ground as he learns to master the poetry, and I was amazed to see how well my fans react-
ed to it, which encouraged me to write even more. I put
guitar from isolation. out a spoken-word piece called “This 2020” on YouTube,
which was produced by the phenomenal Charles
The effects of ongoing social distancing and public Jacques, a very good friend of mine.
health restrictions have been as global as the pandemic I laid down the vocals in my friends’ mini-bedroom
that caused them, and artists all over the world have had studio setup and sent my vocal stems via email over to
of togetherness led Ward to start a good right now,’” he says. “Instead of to adjust. In the United Kingdom, singer-songwriter and Charles in Inglewood, California. He sent the track back
new tradition: Friday Beers, a series just handing you a bottle of vodka. We producer Oritsé (GTe Urban Ash, GS Mini) has kept himself to me after mixing it, and then I found some young, talent-
of live, unrehearsed, unedited conver- could do better at taking care of our busy with a host of projects, including spoken-word poetry ed visual creators to work with through social media to
sations hosted on Instagram between young artists that way.” and learning to play guitar. His video series, Vibes 101, help me conceptualize the piece in a video.
Ward and another musical guest. So follows Oritsé as he takes up the guitar for the first time,
far, Friday Beers has included talks with Scan the code for sharing his experiences with practicing, getting to know the Did you learn anything new about connecting
Rhett Miller, Nina Diaz, the Black Keys’ exclusive video content instrument, and learning his first songs with fans online. with fans during this time?
Patrick Carney and Josh Homme from featuring Jim Ward. Recently, we caught up with Oritsé via email to find out I learned that my fans are more interested in my cre-
Queens of the Stone Age. how his experience of the pandemic affected his creative ative ideas than I may have initially realized, outside of
These aren’t your run-of-the-mill art- process. Be sure to check out the Vibes 101 series at knowing me just as the founding member of my band.
ist interviews focused on new albums, @oritsemusic on Instagram.
upcoming shows and songwriting No Right Way to Make Music How have you changed your approach to
inspiration — they’re thoughtful, often The landscape of today’s music What was your experience of the pandemic like as a performing live?
profound discussions that see Ward world is ever-evolving, fueled in equal musical artist in the UK? I haven’t had the opportunity to perform live yet, but
and his guests opening up for audi- parts by changing social attitudes, the After having an incredible comeback launch with my my band has been making adjustments to our live per-
ences on a personal level in a way that growing accessibility of new music band and selling out a 30-date arena tour in the UK, we formance to ensure that we and our fans are as safe as
isn’t possible with the few minutes of outside the traditional record label unfortunately had to move our tour back. However, in this possible when we go on tour end of this year.
face time artists are able to give fans pipeline, and the tangible consequenc- unexpected time when the world became still, being in iso-
at gigs. Ward says that these conver- es of a global health crisis. Seasoned lation actually gave me time to explore a deeper level of my Are there elements of livestreaming or other
sations have been revelatory, not just insiders and emerging artists alike are creativity without any distractions. approaches to creating music you’ll continue
for how they helped him get through finding that in these times, building or I’ve wanted to learn the guitar since forever, so I said to use moving forward?
isolation, but for how they helped audi- maintaining a career in music means to myself, there’s no better time than now. I also wanted to I definitely want to explore the livestreaming perfor-
ences as well. being willing to look inward — to focus encourage others to pick up an instrument, so I came up mance space a lot more in the future and see what I’m
“Josh Homme is like an older broth- on craft, to dig deep and explore with an idea to start my own online docuseries called Vibes able to do with that. I also will work with other musicians
er to me, and we had this really deep, uncharted creative territory. Though 101, where I would let viewers into the beginnings of my and artists a lot more, no matter where they are in the
personal conversation in front of all today’s digital tools make it easy to journey of learning the guitar and encourage them to join in world. Distance is no longer an obstacle. Online sessions
these people,” Ward recalls, “and I got connect with audiences and individual or follow my progress. I reached out to Taylor Guitars with actually work just fine.
all these really beautiful messages from fans, they cannot replace the hard the idea and they loved it, so this kicks off our first collabo-
people saying things like, ‘This is how work of transforming ideas into actual ration together. What is your songwriting process like?
male relationships should be.’ The truth music, of offering a message that is My songwriting process is a melting pot of crazy ideas
is, a lot of us make music because both authentic to oneself and universal How has your approach to your craft or your career where nothing is off limits and there is no filter. It’s wild.
we’re trying to figure out how to feel enough to inspire listeners around the changed as a result of your forced isolation during My process is pretty much throwing everything at the
better. And when you start having those world. Fortunately, if the pandemic has the pandemic? wall and seeing what sticks. It’s got to feel good to me.
conversations, people can say, ‘If that revealed anything about contemporary Until the pandemic, I didn’t know it was possible to write I don’t like to get in my own way when writing songs — I
guy feels like this, it must be OK that I music and the people who make it, it’s songs with people over the Internet. I was able to collab- like to keep everything open until I achieve that lightbulb
feel like that, too.’” that the drive to create persists regard- orate and write songs with musicians all over the world, moment.
Ward sees this as a feature of the less of circumstance.
pandemic that should stick around as
life returns to something like normalcy.You can also read
