Yutaka Iwata, luthier: ‘The maker’s personality comes through in the sound.’
Maker of the Year, presented by Carbatec, is an awards program for fine woodworkers and wood artists that is open to makers all over the world. Each year the competition presents a global showcase of the latest and best fine woodworking. Along the way, we've spoken to many of the entries in a series of interviews presented on this website. Here we learn more about Yutaka Iwata, a Japanese luthier who is based in Spain.
Q: Japan has an amazing and renowned wood culture of artisanal and design skills. What makes a Japanese woodworker travel to another country to learn?
I played guitar as a teenager, and at the time, I tried replacing the pickups on my electric guitar. Perhaps this is where it all began. I started making guitars seriously around 2000, when I worked at a guitar manufacturing factory. The factory produced classical guitars, and I was able to learn about the world of classical guitars.
Later, I had the opportunity to train at Sakae Ishii’s workshop in Nagano. At his workshop, I learned about tools, guitar making, French polishing, and various aspects of Spanish guitars. The more I learned, the stronger my desire to study in Spain became.
Barcelona is home to many Art Nouveau works, including those by Gaudí. I've always liked Art Nouveau-style architecture, and I knew I wanted to visit this city from the start. When I first came to Spain from Japan, I studied the language while searching for work. I remember visiting the workshops of many luthiers. With the help of those around me, I finally found Raúl Yagüe’s workshop.
The workshop’s entrance is Art Nouveau and was impressive and overwhelming. He was very friendly and we had a great time chatting. When I said I was looking for work, and he said, “I’m not young anymore. Nearby, there is a workshop called Santiago de Cecilia, go and ask them.” And that’s how I started working with them. In 2018, I opened my current workshop and now make guitars with my wife, Edurne Martinez.
Q: Why Spain? Other countries have traditions in fine musical instrument building? What makes a ‘classical’ guitar a ‘Spanish’ guitar?
It's no exaggeration to say that Spain is the mecca of the classical guitar. This tradition dates back to the 19th century, when Antonio de Torres made guitars. Since then, many luthiers have emerged, including Manuel Ramírez, Santos Hernández, and Marcelo Barbero.
Having lived here for many years, I’ve come to realise that it doesn’t rain much in Spain, and there aren’nt many days with high humidity. It’s not as damp as the laundry that wouldn’t dry in Japan. It’s very dry. Therefore, water shortages are a serious problem, however I think it’s an ideal environment for making musical instruments. I believe it’s precisely because instruments are made in such an environment that great instruments are born.
Q: Building instruments requires advanced woodworking skills – but what factors make one guitar sound better than another?
That’s a difficult question. Isn’t it the thing that all luthiers think about and search for? The wood we use is dried for about 5 to 10 years. This means that we remove the moisture from the wood appropriately before making our instruments. We always use animal glue, and we finish our instruments with French polish, striving to maintain the same craftsmanship as used in the 19th century. I’ve never made a violin, but I think it’s a similar world to violins.
The most important thing is tonal balance (brilliant highs and deep lows). This may seem simple, but it’s very difficult. For example, if you make two German spruce tops that are the same size, weight and thickness, will they produce the same sound? Unfortunately, they won’t. Each piece of wood has completely different strength and specific gravity, so guitars using the same top will end up with completely different characters.
Master Sakae Ishii often said, “Have a dialogue with the wood”. It was around this time that I began to understand that this was true. Classical guitars, unlike acoustic or electric guitars, produce a natural sound. The maker’s personality comes through in the sound. There’s no hiding it. When a guitarist test drives a guitar, it feels like they’re seeing right through you.
Yutaka Iwata's Maker of the Year entry, Rosetta and stand. The design is based on the stained glass on the ceiling of the Palau de la Música Catalana in Barcelona. See Yutaka's entry here.
Q: Your Maker of the Year entry shows a rosette as an individual art piece – why did you choose to do this, rather than enter a guitar?
The rosettes of each classical guitar maker feature various patterns, such as buildings, sculptures, plants, and traditional craftsmanship from their birthplaces. In the world of classical guitars, the rosette is valued simply as an aesthetic part of the guitar, since it has no direct effect on the sound. I am exhibiting this rosette in the hopes of sharing with as many people as possible the special techniques and ideas that go into creating rosettes, such as the intricate inlay and innovative design.
Q: Are you looking to add innovations to your future guitars? What are you aiming for?
I am currently researching double-top guitars. The double top consists of two thin layers of wood and, between them, a layer of Nomex. The use of Nomex allows for rigidity and lightness, improving the efficiency of the soundboard. Although it deviates a little from the traditional Spanish structure, I hope that by combining these two elements, I can create a new sound.
Q: What’s your advice for other guitar makers? How can they get the best results?
I have no right to advise other luthiers. If I had to say something, it would be to have a dialogue with the wood, as my mentor said.
Photos: Yutaka Iwata. Learn more about Yutaka Iwata @iwata744 at https://yutakaiwata.com
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