SINCE 1970
Welcome to Giordano Designs / Lutherie.
Even though it is kiln-dried to EMC and torrefied, then aged 15 years, there was risk in building this guitar out of wood cut and dried from my backyard–a three month build time investment. As a test of acoustic theory, it might not have worked. But that's not what happened! The top is made of Virginia pine, which I took the liberty to designate: the "Other Tree" because of the way this guitar sounds. The back and sides of white oak; neck of black cherry; with a rosette made from a knot in the same billet as the top–all from out back. And yet...most players who have heard it live say it sounds better than commercially made OMs! It sounds the way it does because I applied everything Ervin Somogyi taught me in the build.
Players know what they like, what they need, and what they want to feel and hear.
That special relationship between a guitar and its player begins in the ear. If it sounds just right, the response of each string's orbit, the way each note reaches the senses, the complexities of all the tones moving in waves into music's infinite variations, all comes from its acoustic foundation.
As form follows function, so design follows acoustic response. Guitars are a complex array of physical components that respond to its vibratory energy. Special materials, carefully crafted structure, attention to detail, artistic motif, and even a story told in marquetry, drive the design to be integral with the tone.
If it doesn't feel right in the hand, with each string meeting the individual span of the fingers, enabling any chord to be played in comfort, making playing as easy as it can be for the player's style, it doesn't qualify as the guitar it was meant to be. Playability optimizes the player.
It's not just about how a guitar sounds, or plays. It's also very much about how it looks. A carefully articulated combination of beautiful woods, an interesting palette, intricate embellishments, immaculate details and a glistening finish, combine to tell a story and complete a guitar's meaning.
Understanding action and tone from a players perspective, I've specialized in high-end acoustically responsive guitars since 1970. My current focus is on steel string action, timbre, sustain, and balance. Each guitar can have its own custom story relating to something personal or aesthetic motif. Embellishments vary according to need and taste. I received an MFA from Rhode Island School of Design in 1979, with a twofold focus on Industrial Design and Furniture Design. Recently, I spent immersive time with Ervin Somogyi and James Olson, for which I am deeply grateful.
Since beginning with a broad spectrum interest in other stringed instruments, my work also included building a lute, mandolins, dulcimers, ukuleles, solid body electrics, and other experimental instruments. This lute was a the end result of a project at RISD, where a complete system was designed to construct a lute.
This circa 1920s Stella guitar belonged to the grandfather of the client who brought it to me. It was tattered and falling apart. Top and back were separated and the braces were falling apart. Bridge was way high, and the instrument was unplayable. The photo shows the guitar after it was restored.
No. 14574-0
A client recently brought a 1947 Martin D-18 Dreadnought in to see if it could be repaired. It needed a lot of work. There were cracks and holes in the sides, a crude, lifted, homemade bridge, fingernail digs, a pulled, warped pick guard and deep fretboard pits. The finish was scratched, glazed and flaked. But it was a family heirloom. This is that guitar after it was repaired-with new frets, a new vintage bridge and tuners. Now worth tens of thousands.