Ervin Somogyi

Ervin Somogyi is a professional luthier with more than 30 years of experience and whose work is known and respected internationally. his guitars are known for having their own look and sound, as well as the ability to perform extremely well in the recording studio. His instruments have been played everywhere, including Carnegie Hall and the White House.
Mr. Somogyi has influenced many of the younger generation of luthiers through his extensive teaching, his innovative designs and through his published articles on design, construction and acoustics.

Mr. Somogyi is a long-term member of both the Guild of American Luthiers and the Association of Stringed Instrument Artisans (ASIA), and a founding member of the Northern California Association of Luthiers.

The Luthier's Collection will receive four guitars each year from Ervin Somogyi Guitars. You will pay the same price at The Luthier's Collection as you would if dealing directly with Ervin. Please let us know if there is something special you are looking for.

Web Site

Available Models

IN STOCK: 2017 Somogyi OM

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Brazilian Rosewood Back and Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
"Sunrise" Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Abalone Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Schaller Tuners w/Ebony Buttons
Hoffee Case

 

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IN STOCK: 2015 Somogyi Modified Dreadnaught "Paint Splatter" #2

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Brazilian Rosewood Back & Sides
Sitka Spruce Top w/Red "Paint Splatter" Inlay
12 Frets to the Body
Cutaway
Ebony Bindings
Carved Rosette w/Red Background
Linear Abalone Fretboard Inlay
Ebony Bridge w/Red "Paint Splatter" Inlay
Ebony Headstock Veneer w/Red "Paint Splatter" Inlay
Gold/Silver Rodgers Tuners w/ BRW Buttons
Built in 2015 as a "Show" Guitar. It has stayed with Somogyi until this listing.

 

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IN STOCK: 2009 Somogyi Modified Dreadnaught

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Brazilian Rosewood Back & Sides
Sitka Spruce Soundboard
Florentine Cutaway
Segmented Rosette in "Sunrise Pattern"
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
"Sunrise Pattern" Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Burlwood Headstock Veneer w/Abalone center strip Gold Gotoh 510 Tuners w/Ebony Buttons
Calton Case

 

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IN STOCK: 2003 Somogyi OM #310

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Double Abalone Rosette around Abalone Mosaic design
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard Perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Chrome Schaller Tuners w/Ebony Buttons
Calton Case

 

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IN STOCK: 2015 Somogyi Diospyros

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In the words of Ervin Somogyi;
THE DIOSPYROS GUITAR: THIS GUITAR’S BODY COMPRISES OF ABOUT FIVE HUNDRED INDIVIDUAL PIECES OF EBONY AND YELLOWHEART WOOD, PAINSTAKINGLY LINED WITH GREEN VENEER STRIPS AND FITTED IN WITH THE SURROUNDING SEGMENTS. ALL THE WORK HAS BEEN DONE BY HAND -- AND YOU’RE RIGHT IN THINKING THAT IT TOOK FOREVER. DIOSPYROS IS THE LATIN NAME FOR EBONY WOOD, AND I COULD NOT THINK OF A BETTER NAME FOR THIS GUITAR. THE DESIGN ITSELF WAS SUGGESTED TO ME BY THE PAVING STONES IN A MEXICAN VILLAGE STREET.

 

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IN STOCK: 1981 Somogyi Classical

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Brazilian Rosewood Back & Sides
European Spruce Top
BRW Rosewood Bindings
Maple Purflings
Mosaic Rosette
Burled Walnut Headstock Veneer
Gold Tuners w/MOP Buttons
Karura Case
53mm Nut
647.7mm Scale length

 

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IN STOCK: 2003 Somogyi Modified Dreadnought

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Brazilian Rosewood Back and Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Double Abalone Rosette around Spalted Maple
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Snowflake Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Schaller Tuners w/Ebony Buttons
Calton Case

 

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SOLD: 2010 Somogyi OM

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Brazilian Rosewood Back & Sides
Bear Claw Sitka Spruce Soundboard
Cutaway
Hand Carved Rosette & End Graft
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Japanese Maple Leaf Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Rodgers Tuners w/RW Buttons
Calton Case

 

SOLD

 

SOLD: 2015 Somogyi Day of the Dead Guitar

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Somogyi calls this guitar "The most personal guitar I have ever made."
It is an expression of life and death. A skull is carved into the neck block with real human teeth. The rosette has a skull carving. The Brazilian Rosewood has decay holes that have not been filled that enhance both the sound and the feel of the Day of the Dead guitar.
Somogyi feels it is one of the best sounding and most interesting guitars he has built to date.
Brazilian Rosewood Back & Sides
European Spruce Top
BRW Bindings
3 Ring Rosette of Abalone/Black Acrylic/Abalone
Ebony Fretboard & Bridge
Gold Rodgers Tuner w/Rosewood Buttons

 

SOLD

 

SOLD: 2015 Somogyi Mod-D

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Segmented Patio-Stone Rosette
Sides Inlaid "Andamento Style" w/5 Thin Ebony Strips
W/Maple Border on each Side
Brazilian Rosewood Binding
Ebony Fretboard w/Patio-Stone Inlay & Thin Maple Purfling Line inside Fretboard perimeter
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Patio-Stone Inlaid Headstock
Gold Schaller Tuners w/Ebony Buttons
Hoffee Case

 

SOLD

 

SOLD: 2016 Somogyi OM

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Schaller Tuners
Hoffee Case

 

SOLD

 

SOLD: 2011 Somogyi OM #448

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Brazilian Rosewood Back & Sides
Sitka Spruce Soundboard
Florentine Cutaway
Patiostone Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
BRW Headstock Veneer
Gold Gotoh Delta Tuners w/Ebony Buttons
Hoffee Case

 

SOLD

 

SOLD: 2015 Somogyi OM

 
Brazilian Rosewood Back & Sides
Sitka Spruce Soundboard
Cutaway
French Polished Face
Art Deco Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Silver Rodgers Tuners Tuners w/Ebony Buttons
Black Hoffee Case

 

SOLD

 

SOLD: 2005 Somogyi OM #356

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Brazilian Rosewood Back and Sides
European Spruce Soundboard
Florentine Cutaway
Abalone Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Chrome Schaller Tuners w/Ebony Buttons

 

SOLD

 

SOLD: 1986 Somogyi Dreadnought

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Guitar #99
Brazilian Rosewood Back & Sides
European Spruce Top
Cutaway
BRW Bindings
Segmented Rosette
Snowflake Fretboard Inlay
Chrome Schaller Tuners

 

SOLD

 

SOLD: 2014 Somogyi OM "Paint Splatter Guitar"

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Brazilian Rosewood Back & Sides w/Red "Paint Splatter"
Inlay
European Spruce Top
Cutaway
BRW Bindings
"Patio Stone" Rosette
Linear Abalone Fretboard Inlay
BRW Bridge
BRW Headstock Venner
Gold Schaller Tuners w/Ebony Buttons

FROM ERVIN SOMOGYI;

TROMPE L’OEIL AND WABI-SABI IN GUITARS

I've recently completed a guitar that has a new kind of ornamentation on it – at least for me. And as far as I know it's quite different from any ornamentation anyone else has ever done on a guitar. I don't yet know how people will react to it, but I am very pleased with how it came out.

My initial inspiration for the look of this guitar didn’t come out of any blinding artistic idea that I woke up with one morning, though. It came out of a need to fix some problem spots in a set of otherwise beautiful guitar making wood whose flaws would make it unsuitable to use. The most common fix for this kind of thing is to do some inlay work to hide the flaw, or patching, or staining, or painting-over. But, unless one is prepared to do a large-scale job of a this-will-fix-all-of-it type when working several separate areas that aren’t located conveniently, then one has figure out how to deal with several smaller spots in a different way. Sometimes it means doing more of whatever-it-is than there are actual trouble spots. And in either case, if this work is going to be done on an expensive guitar then it has to look perfect instead of like a drill-and-fill patch job. I thought about this project for a few weeks.

A NOTE ABOUT ARTISTRY IN GENERAL

Until now art and ornamentation of any type have been rendered in traditional Western (and Eastern) ways. That is, art and decoration have been . . . well . . . artistic and decorative, regardless of whether the work has been painted, inlaid, carved, or anything else. Such work has always had to make some visual sense, even if its orderliness came out of something that looked chaotic – such as Jackson Pollock’s work, which has spilled over into fabric design, etc. Artistic work has always followed the rules of one or another of its modes, whether it be directly representational, geometric, stylized, abstract, Art Nouveau, ethnic, School of Realism, Art Deco, Japonesque, symbolic, Scandinavian, portraiture, African, Southwest American Indian, Naturalist, calligraphy/words, Arts and Crafts style, filigree, symbolism, religious iconography, mosaic pixel work, Dutch Renaissance, Cubism, mandalas, Impressionism, Appalachian primitive, figurative, marquetry, Zen, Dadaist, aboriginal, Islamic, Judaic, Celtic, Indian, Chinese, modern, post-modern, or . . . . well, you get the idea. All of it had, and has to be, somehow, visually coherent according to its tradition or sensibility and obey its appropriate principles of execution, shape, line, balance, proportion, ideal, and aesthetic. Basically, if artistry/ornamentation went to college, it would generally get a pass-or-fail grade. You know: it’s either bad art or good art, yes or no, period.

ABOUT THIS PARTICULAR GUITAR

One morning I did wake up with a concept of a coherent-yet-not-overdesigned look that might work and that wouldn’t, by my standards, look contrived or cute or repeating other people’s work . . . such as inlaying some swimming fishes, or a few jigsaw-puzzle shaped pieces of wood or shell, or dice or dominoes. That idea was: paint spatter. (Inlaying a few falling leaves might have worked too, but a lot of people have already done leaf work and I thought those images had too relaxed and laid-back a spin by now. You know: been there, done that.) I liked the idea of something that would arrest the eye and have a bit of shock value.

I bought some sheets of poster paper and spent some time dripping, sprinkling, and splattering paint all over them to get a sense of the a good size, impact-spread, drip pattern, and density. I tried different colors too. Red soon turned out to be the right choice, given the colors of the guitar woods. Overall, none of the drips looked bad. I mean, how wrong can a drip look? But some looked very bland. Others would be very challenging to inlay into wood – especially the really tiny spots. Yet others would probably bring the crime scene people in. Eventually I came up with a combination of spots that, when arranged on a canvas that was the size and shape of my guitar, felt right.

I just went ahead and did it, without thinking ahead to come up with a name for it for when I needed to start to talk to people about this decorative treatment. That came at the very end, when it dawned on me that I’d combined trompe l’oeil and Wabi-sabi into this instrument’s ornamentation. I should explain what these terms mean.

Trompe l’oeil is French for "a trick of the eye" or "tricking the eye". It is a style of European painting that rose to prominence in the Baroque era but which originated much longer ago. Technically, it is a two-dimensional work that carries something called perspectival illusionism: this is when painters would paint things that were so realistic that they looked three-dimensional on a surface that everyone knew was flat. One example of trompe l’oeil was to paint coins on bar tops that would look so realistic that customers would try to pick the coins up. The illusion didn’t look painted: it just looked that REAL. Another was to paint a picture in which something seemed to be jumping out of the canvas and the frame. An older iteration was to paint a door into a wall, perhaps in the middle of a mural, to make the room look as though it were larger and led to another room.

Wabi-sabi, on the other hand, is a Japanese concept that is outside of Western traditions of thought. Wabi-sabi has to do with an appreciation for the beauty of things that are natural, simple, unpretentious, ephemeral and passing. They might be in full bloom, or somewhat worn, or well into entropy and decay. But it is understood that all things are headed in the same direction. And it is an awareness of that direction, and its transitions, and an appreciation of these, that is the underlying sensibility. As I said, this idea is not quite in the forefront of Western thought. The closest thing I know of is the Latins' celebration of the Dia de los Muertos (the Day of the Dead), where those who have been here and have passed away are acknowledged and celebrated. It's not quite the same thing as Wabi-sabi, really, but it does overlap it a bit.

My own take on Wabi-sabi also has to do, in part, with my sense that one thing that is important in an artist’s work is that there can always be a way in which -- in any and all the disciplines of art that I listed above – it looks right . . . and there can also a way in which it can look wrong . . . or incomplete . . . or amateurish . . . or somehow not fully realized. Well, there are always rules for how the work should be executed and what it ought to wind up looking like or representing. The rules may be very, very subtle. But that's what teachers, guides, mentors, and masters are for: to know and teach the sensibility and the rules, and to help us internalize them.

Opposed to any and all of this is Nature, NONE of which looks wrong. No matter how many of anything Nature may produce -- trees, leaves, dogs, mountains, landslides, puddles, flowers, dead animals, stones, oceans, sunsets, rust spots, broken things, etc. – they all look right. Nature is incapable of looking wrong . . . at least in any of the ways that most people and artists can achieve. Wabi wabi taps into this. (There is a book titled Wabi-Sabi for Artists and Craftsmen that does a pretty good job of explaining this mode of seeing the world, for anyone who is interested in knowing more about it. Clearly, things that are man-made can participate in Wabi-sabi also.) The closest thing to Wabi-sabi in Western thought that I know of is the word factitious, which means “artificial; made by man and not by nature”, but this is a word that one seldom hears in real life and which doesn’t at all rise to the level of a philosophy about seeing the world.

THE BOTTOM LINE

As far as my trompe l’oeil/Wabi-sabi guitar goes, it looks at first glance as though an accident had happened to the guitar, by someone who had carelessly allowed paint to drip or spatter on it. But this effect is all carefully rendered wood inlay. There’s nothing careless or accidental about this at all.

My sense of the Wabi-sabi of life in general (besides in guitar making and art) is also that it carries an appreciation of some essential and indelible beauty of that which used to be pristine but which has signs of wear and use, and may even be worn out . . . like all the aging people (whom I am increasingly resembling) who aren’t considered physically or cosmetically attractive in this society . . . and that there is, at bottom, no way for any of it, or them, or us, or me, or you, to truly look wrong.

 

SOLD

 

SOLD: 2014 Somogyi OM

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Brazilian Rosewood Back & Sides
Sitka Spruce Soundboard
Cutaway
French Polished Face
Hand Carved Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Schaller Tuners w/Ebony Buttons
Black Hoffee Case

 

SOLD

 

SOLD: 2007 Somogyi OM

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Brazilian Rosewood Back and Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Double Abalone Rosette around Spalted Maple
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Snowflake Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Chrome Schaller Tuners w/Ebony Buttons
Calton Case

 

SOLD

 

SOLD: 1986 Somogyi Modified Dreadnaught

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Brazilian Rosewood back and sides
Sitka Spruce Soundboard
Cutaway
Segmented Rosette
BRW Binding & Top Border
Fancy Snowflake fingerboard inlay
BRW Bridge
Chrome Schaller Tuners w/Ebony Buttons
Amulet Acoustic Lens Pickup

 

SOLD

 

SOLD: 2013 Somogyi Modified Dreadnaught

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
"Broken" Patiostone w/Inner & Outer Abalone Circle Rosette
Sides Inlaid "Andamento Style" w/5 Thin Ebony Strips
W/Maple Border on each Side
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Abalone Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
BRW Headstock Veneer on Front & Back
Gold Schaller Tuners w/Ebony Buttons
Hoffee Case

 

SOLD

 

SOLD: 2004 Somogyi Fanned Fret Modified-Dreadnought

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Fanned Frets
Double Abalone Rosette around Mosaic design
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
BRW Bridge
BRW Headstock Veneer
Silver Rodgers Tuners w/BRW Buttons

 

SOLD

 

SOLD: 2013 Somogyi OM

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Brazilian Rosewood Back & Sides w/Patiostone Inlay on Back
Sitka Spruce Soundboard
Florentine Cutaway
"Broken" Patiostone w/Inner & Outer Abalone Circle Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
BRW Headstock Veneer w/Patiostone Inlay
Gold Schaller Tuners w/Ebony Buttons
Hoffee Case

 

SOLD

 

SOLD: 2009 Somogyi OM

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Snowflake Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Front & Back Burled Walnut Headstock Veneer
Gold Gotoh 510 Tuners w/Ebony Buttons

 

SOLD

 

SOLD: 2012 Somogyi Andamento

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Figured Maple Back & Sides
European Spruce Top
Ebony Bridge, Fretboard & Bindings
MOP Original Fretboard Inlays
Fretboard Purfling made from Old Ivory Piano Keys
Honduran Mahogany Neck, Head, Linings & Blocks
Black/White/RW Purfling for Back of Neck Inlay
African Blackwood Headstock Veneers
Segmented Mosaic Soundhole Rosette
Extensive Wood Mosaic Inlays w/Black & White Purfling on Back & Sides
Hard Nickel Frets
Laminated Bone Nut & Saddle
Rodgers Sterling Silver Tuners w/Ebony Buttons
Very Unique Case from Calton Custom Shop

As described by Ervin Somogyi:

Here is my maple Andamento guitar. It’s the best-executed work that’s ever come out of my shop, and the culmination of my professional design aesthetic. Please allow me to tell you about it.

Except for the tuners, strings, and fret materials, everything on and in the Andamento is made, designed, shaped, and assembled in my shop.

The current aesthetic in high-end guitar making and ornamentation includes some complicated and time-consuming mother-of-pearl and abalone-shell inlay work. A number of highly skilled practitioners of this art form have mastered these techniques and come to the fore, doing work of unprecedented originality. Their best work will undoubtedly wind up in museums and private collections.

Instead of working with mother-of-pearl and abalone as most luthiers do, though, I’ve preferred to decorate with wood -- in this case in the form of mosaics. (In mosaic work the term for each piece of material is Tessera (plural: tesserae). Andamento is the word used to describe the movement and flow of Tesserae.)

In lutherie-level mosaic work, as in Spanish guitar soundhole rosettes, there is normally one tile pattern that is created and it is used over and over again. This guitar is noteworthy in that eleven separate mosaic patterns have been created for it: its back and sides inlaid with ten different mosaic pattern tiles, connected by a latticework of black-white-black purfling lines; and there’s a separate mosaic pattern in the segmented soundhole rosette. Furthermore, the back and side inlays are micromosaic tiles. Each tile comprises of 200 separate pieces of wood, including the borders. The Andamento guitar has some 200 of these tiles, each one half the size of a dime, scattered randomly over its back and sides. They are perfectly executed despite of their smallness of scale.

You will notice that the sides of the guitar are differently inlaid than the back is: for the entire guitar to have been treated in the same way would have resulted in a design that is too busy and unimaginative -- like most wallpaper. This combination of different back and side work was carefully thought out: each part complements the other in color, line value, proportion, and general aesthetic.

The back-of-neck-inlay, peghead, soundhole rosette, and ebony bridge are likewise thought out so as to be compatible with the other parts of the guitar and its overall black-white motif. The Andamento guitar is, I believe, a masterpiece of black/white mosaic inlay aesthetic and design.

Incidentally, I chose the Andamento tile/layout pattern because of its great visual appeal. It’s not my original design, by the way: others have discovered this long ago; it is merely my original treatment. It is found in examples of floor tile work, in textile patterns, and it has even appeared as a design element in the gambling casino that’s the setting of the Ocean’s 13 movie.

The segmented soundhole rosette is more or less my trademark, as are mitered joints. The rosette itself consists of eleven separate segments, with the corners picture-frame mitered together. The miters are cut by hand, and each rosette is accomplished through fitting 88 mitered elements together -- plus the mosaic tiles that go inside the individual frames. The guitar’s bindings and purflings are also mitered by hand rather than butt-jointed, as is the ivory frame piece in the fretboard (those miters are positively exquisite). Ditto the back-of-neck inlay, which has consistent overs-and-unders.

Other than that, the back-of-neck inlay works aesthetically because it echoes the crisp geometric angularity of the rest of the inlay pattern. Something flowery or curvy would not have been a good match.

I do the mitering of visible wooden joins because (1) that’s how I learned to do the work, and because (2) it looks better -- exactly because of how time-consuming and precise such work is. The same is true of the black-white-black connective lines that create the Andamento grid itself: each segment is notched into a receiving segment at both ends so as to make the central (white) stripping continuous, rather than have a bunch of white lines butt into the next segment’s outermost dark line. The point is that if one were to cut just a little bit too much off any corner or end, you’d be left with gaps that would attract the eye exactly as a cockroach on a wedding dress would. This kind of effort has suggested a too-silly-to-ever-actually-use slogan for my instruments: “Somogyi guitars: we cut corners everywhere”.

This is the first and likely only maple Andamento I’ll ever make. I chose maple because it brings out the light-dark aesthetic motif better (or at least in a different way) than executing it in darker rosewood would accomplish. However, while dark woods are forgiving of tiny flaws such as tears and miscuts (i.e., you can make them invisible against the back background) maple offers no such cover: any miscut, tearout, irregularity, splintering, or crack becomes permanently visible. Please look at the maple Andamento carefully: it really is PERFECT work. It took FAR longer and more care than my other (rosewood) Andamento needed, and the overall effect is the result of hundreds of perfectly executed joints.

Finally, my guitars are also known for their sound and tonal responsiveness. This guitar has been voiced just as my other instruments are: it will produce a rich palette of sound. It is at this time new and unplayed, and as such the sound has yet to develop. But it will.

Ervin Somogyi

 

SOLD

 

SOLD: 2012 Somogyi OM

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
BRW Headstock Veneer
Gold Schaller Tuners w/Ebony Buttons
Hoffee Case

 

SOLD

 

SOLD: 2012 Somogyi OM

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Somogyi's "Patio Stone" Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Abalone Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Mini Gotoh 510 Tuners w/Ebony Buttons
Burgundy Hoffee Case

 

SOLD

 

SOLD: 2004 Somogyi SJ

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Maple Back and Sides
European Spruce Top
Florentine Cutaway
Brazilian Rosewood Bindings
Linear Abalone Fretboard Inlay
Ebony Fretboard w/Maple Purfling
Mosaic Rosette w/Abalone Inner and Outer Rings
Chrome Schaller Tuners w/Ebony Buttons

 

SOLD

 

SOLD: 2004 Somogyi SJ

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Quilted Maple Back and Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Double Abalone Rosette around Mosaic design
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Chrome Schaller Tuners w/Ebony Buttons

 

SOLD

 

SOLD: 2009 Somogyi Jumbo

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16 1/2" Lower Bout
Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Snowflake Inlay on Fretboard
Narrow Maple Wood Outline Soundboard Border
Brazilian Rosewood Bridge
Burlwood Headstock Veneer
Gold Gotoh Tuners
Calton Case

Somogyi built this guitar using a Lattice Braced Back. It is something new for Somogyi and he is very excited about this guitar.

 

SOLD

 

SOLD: 2001 Somogyi OM

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Brazilian Rosewood Back & Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Abalone Rosette
Brazilian Rosewood Binding
Snowflake Fretboard Inlay
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Brazilian Rosewood Bridge
Chrome Schaller Tuners

 

SOLD

 

SOLD: 2008 Somogyi OM

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Old Growth Brazilian Rosewood Back & Sides
Sitka Spruce Top
BRW Bindings
Hand Carved Celtic Rosette
Colorful Wood Fretboard Inlay
BRW Headstock Veneer
Rodgers Tuners

This is example of the incredible woodworking
ability of Ervin Somogyi.
It is not available for purchase.

 

NOT FOR SALE

 

SOLD: 0000 Somogyi Modified Dread

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Brazilian Rosewood back and sides
European Spruce Soundboard
Florentine Cutaway
Double Abalone Outer Rings w.Spalted Maple Inner Ring
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Gold Schaller Tuners

 

SOLD

 

SOLD: 0000 Somogyi OM

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Brazilian Rosewood Back and Sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Double Abalone Rosette around Mosaic design
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Gold Schaller Tuners w/Ebony Buttons
Calton Case

 

SOLD

 

SOLD: 2003 Somogyi Modified Dreadnought

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Brazilian Rosewood back and sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Segmented Rosette
Brazilian Rosewood Binding Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Sterling Silver Rodgers Tuners
Calton Case

 

SOLD

 

SOLD: 2001 Somogyi Modified Dreadnought

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Brazilian Rosewood back and sides
European Spruce Soundboard
Florentine Cutaway
French Polished Face
Segmented Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Linear Inlay on Fretboard
Narrow Brazilian and Maple Wood Outline around Soundboard Border
Brazilian Rosewood Bridge
Chrome Schaller Tuners
Calton Case

 

SOLD

 

SOLD: 2001 Somogyi Modified Dreadnought

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Brazilian Rosewood back and sides
European Spruce Soundboard
Cutaway
French Polished Face
3 Ring Abalone Rosette
Brazilian Rosewood Binding
Ebony Fretboard w/Thin Maple Purfling Line inside Fretboard perimeter
Abalone Snowflake Inlays on Fretboard @ 3,5,7,9,12,15 and 17 Frets
Narrow Ebony and Maple Outline around Soundboard Border
French Polished Face

 

SOLD

 

SOLD: 2000 Somogyi Pre-Owned Modified Dreadnought

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Brazilian Rosewood back and sides
European Spruce Soundboard
French Polished Face
Segmented Rosette
Ebony fingerboard w/binding and maple purfling
Fancy Snowflake fingerboard inlay
Gold Schaller Tuners w/Ebony Buttons
Highlander Pickup
Comes with Calton Case

 

SOLD

 

SOLD: 2001 Somogyi Modified Dreadnaught

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Brazilian Rosewood back and sides
Sitka Spruce Soundboard
Slotted Headstock with Van Gent Tuners
Florentine Cutaway
3 ring Abalone Rosette
Ebony binding
1 3/4 nut

 

SOLD