Some things have changed and some things have not.

The relationship between luthiers, instrument dealers, and the public has changed as a result of the media and the Internet.

The old paradigm
In the 1890’s (before radio, television, and the internet) luthiers had a limited set of choices in making their craft available to the public.  It was a fantastic era for instrument builders. Everyone played an instrument.  Music was a primary form of social interaction.  Kids were trained to read music and most houses had a music room.  Tin Pan Alley was building fortunes for publishers via a nationwide network for printed music distribution.  Thousands were employed by the New York and Chicago instrument building industry to meet the constant demand for instruments.  Major retailers (like Sears and Roebuck) fed the demand by making instruments available in all parts of the country, and at all price points, through their catalogs. ‘Branding’ became the norm as luthiers, whether in small shops or large factories, produced instruments carrying the name ‘brand’ of distributors.  Music shops and instrument dealers could be found in all big cities and in most small towns.  Gibson revolutionized a new distribution system by making their instruments available through music teachers.  There was a handsome commission paid to the teacher for each instrument sold.  The exception to the norm was found in several larger cities, where small shop luthiers built ‘custom’ instruments and could operate on reputation, selling directly to musicians.

Every builder or manufacturer wanted ‘famous’ people to be seen in public with their instruments, as endorsements meant sales.  If Gene Autry appeared with his Martin D-45, it was clear to his fans that playing and singing was cool and Martin was the best.  That is of course, unless you were a Ray Whitley fan – then a Gibson J-200 was preferred.

The new paradigm
A lot has changed over the years.  Radio, television and HiFi, have given way to video, stadium concert tours, personal entertainment devices, mass transportation, and more expendable income just to name a few.  Manufacturing is now global and distribution has shifted to ‘big box’ and Internet retailers.  Music education is no longer expected for all children, as current day social interactions no longer requires it.  There are so many ‘other’ options.  The music room is a thing of the past; the garage is better suited to control the volume of our amplifiers.

Some things have evolved.  For whatever reason, there are now hundreds of luthiers competing in today’s market.  The craft has re-emerged from the ashes of change.  Due perhaps to the availability of information and the ease of exchanging ideas, the ‘art of luthierie’ is at an all-time high, a renaissance if you will.  The issues of exposure and distribution for these talented builders however, have not changed.    ‘Branding’ is still the norm, but how do they make their ‘art’ available to be seen and experienced?   This is especially true in the age of the ‘big box’ retailer, where the primary issue is price point.

Instrument dealers have evolved as well.  There is, or should be I believe, a distinction between a music store and an instrument ‘dealer’.   The music store’s primary interest is in stocking instruments that actually sell.  They will try to respond quickly to trends and carefully select products that represent value for the dollar.  In other words, choices are driven by price-point.  They represent the important role of fulfilling the needs of families and schools, with different grades of instruments that can grow with the needs and talents of their customers.

Instrument ‘dealers’ on the other hand, view luthierie as an art form.  Their shops are closer to the model of an art gallery than a store.  Every instrument is researched, carefully considered, and viewed as an investment, before it is included in the gallery.  Dealers ‘represent’ luthiers and their craft to the public.

Luthierie is a unique as both an art and science.  The creation of a hand-made instrument brings together experience, an advanced understanding of acoustics, the physical and structural requirements of the instrument, a detailed understanding of the properties (advantages and limitations) of the natural materials, all coupled with a strong sense of design and of tradition.  The results represent the highest form of the craft: it must look and sound wonderful, play well, and appeal to all the senses of the end user.  By any measure, this alone is art – but it doesn’t stop there.  The end user is almost always a knowledgeable player.  In their hands, the instrument is an integral tool for their ‘performance’ art.  This cannot be said for painting, sculpture, or most other crafts.

Instrument dealers usually start as players themselves.  It may begin with a seemingly innocent, long standing passion for the instrument.  Their obsession with the raw beauty and power of instrument, inevitably leads to an interest in their history and tradition.  Trials and comparisons subsequently lead away from factory-produced products.  Their resulting heightened sensibilities lead them to the investigation of hand-made instruments, the characters of their creators, and the broad range of possibilities that follow.  For these reasons, dealers are usually collectors.   Anyone who derives tremendous pleasure from their obsessions inevitably wants to share their delight.  If they really get the bug badly enough, they end up as a ‘dealer’.  At this time, there’s no known treatment for this disease.

Luthiers suffer from a similar ailment, as they love what they do and generally want to spent their time, energy, talent, and experience furthering their art.  A good dealer will relieve the Luthier from some of the more stressful business issues (like actually selling the instrument) and offer encouragement and advice, through their experience and perspective.  Luthiers and their dealers should be standing firmly on common ground.

Unfortunately, passion and obsession are not enough.  Both dealers and luthiers have to make enough money to support themselves, so they can each pursue their obsessions.  Therein lies the relationship between dealer and Luthier.  In raw terms, the dealer provides the gallery for the art, the physical location where the instruments can be played and experienced.  The dealer is the person, and personality, that has regular business hours and sufficient knowledge and talent, to properly represent the work of the Luthier, and has the ability to respond to the needs of perspective clients.  When a dealer successfully represents a Luthier, both benefit.  As the dealer helps to develop and expand the reputation of the Luthier, he also helps the value of their instruments to grow.

No two dealers are exactly alike, just as no two luthiers or instruments are the same.  In a perfect world, dealers provide three primary services: Exposure, Service and Value.

Exposure

Part of the cost of doing business for dealers is travel and attendance at events and shows around the country (and the world).  Through these, the dealer builds contacts and relationships with performers and players.  The object of this exercise is exposure – getting the Luthier’s instrument into the hands of appropriate and notable players.  Knowledge, personality, and alchemy are involved.  If the players look forward to spending time with the dealer, then they are more likely to spend more time with his instruments.

Service

Good service falls into three categories:

1. Having enough instruments that are available during regular business hours, and an easy-to-reach location, making it a worthwhile destination so players will make the trip.
2. Having knowledgeable staff to be helpful to players – enough to be able to put the ‘appropriate’ instrument into their hands, and then to discuss it’s various merits.
3. Having a Luthier on hand to set-up the instruments for individual players and to make small problems to go away.  The on-site luthier is critical as every instrument in the ‘gallery’ needs to be in top shape in order to be represented in the best possible light.

Value

This is where market-forces come into play.  In order for a dealer to build a strong reputation, they need to represent instruments and luthiers that have value.  When a dealer represents the work of a Luthier, they are saying that the cost of the instrument is a worthwhile investment.  There is some alchemy involved here.  Very much the same sense as when valuing stocks or paintings.  If a dealer represents work that ‘holds’ its value over time, they develop a reputation of understanding the market, and clients develop a relationship of trust.  As the prices of hand-made instruments are high, clients must have confidence that they are making a wise investment.  The incentives are all aligned as the dealer wants the values of the instruments to rise, so does the Luthier.   Ironically however, dealers do not want to sell instruments above their market value, as it will not help the reputation of the dealer or the Luthier, to have expensive new instruments that sell for a fraction of their original cost on the used market.  Basically luthiers and dealers struggle together, to help establish and maintain a healthy, realistic market value.  It is in the best interest of all the parties involved, Luthier, dealer, and player, to have that value rise.

How to start a relationship with a dealer:

1. Consider where you would like your instruments to get exposure. Part of this determination is geographic and part of it is dealer reputation.
2. Approach the dealer via email with detailed pictures and descriptions of your instruments. On any normal day, a dealer’s time is distributed between the phone, email and customers in the store.  If you call catch the dealer at a bad moment, you may not be received with an open mind and an opportunity can be missed. Email can act as a traditional letter of introduction.
3. Attend the appropriate Guitar Shows. Many dealers also attend looking for wonderful instruments. Dealers are always looking for undiscovered talent. Most dealers are not looking to buy instruments at guitar shows but are searching for new builders and the opportunity to open doors to new relationships.
4. Consider each new encounter with a dealer as a potential relationship based upon business, trust and long-term investment.

At the end of the day, the relationship between luthiers and dealers focuses on both business and art.  Artists and art-lovers, immersed in and consumed by what they love to do.  Struggling together to foster and expand the art of music and luthierie.  It is a delicious, delightful, and mutually advantageous cycle.

Leonard Wyeth and Brian Wolfe
Acoustic Music.Org