“An Inside Look Into Blueberry Guitars” | Terence Tan

Asian crafted guitars are no longer associated with poor workmanship, sub optimal tone and dismal playability. From high end Japanese luthiers like Mickey Uchida to well crafted factory Blueridges, the Pacific Rim is beginning to make an impact on the higher end of the flattop scene.

The latest player on the scene is Blueberry Guitars. A partnership between Canadian Based Businessman Danny Fonfeder, Balinese Craftsman Wayan Tuges and Vermont based Luthier educator George Morris, this brand carries the unique marriage of Balinese relief carving, American School Lutherie, modern international marketing and sales.

Wayan Tuges is a Balinese master carver from a long family line. He begun crafting sculptures under his father’s tutorlage and even in high school, his skills were apparent [see image right].

Even with his considerable woodsorking skills, he was new to lutherie just 4 years ago when Fonfeder approached him with the concept of building guitars featuring traditional decorative carvings. Lutherie is anything but new to George Morris. Soon after working with Charles Fox, Morris starting running lutherie classes in his Vermont based workshop.

So having studied under Morris, Tuges returned to Bali and started to build on guitars in his workshop. According to Fonfeder, the first 100 or so guitars were really works in progress. They were rejected one by one until George was satisfied enough to endorse them. Today, Wayan has imparted his skills and knowledge to the 47 craftsmen under him and together they produce around 30 instruments a month.

The majority of the guitars feature relief carving picturing traditional Balinese & Western themes. Timbers are sourced locally as well as globally with anything from Alaskan spruce to Balinese Acacia being processed. The guitars I have seen and played at the workshop featured a double X top tapered braces around 6-7mm.

The tops were 3-4mm thick and all joints were glued with Elmers. Finishing was done wih tru-oil and the wood was sealed with shellac. Necks were dovetailed and had 2 piece heels. The guitars were then setup in a climate controlled shop, then shipped to Canada for final adjustment. [for a more detailed look at construction, do catch our upcoming photographic shop tour]

As with most luthiers, Wayan has been actively build using locally sourced materials. His mahogany and Indian Rosewood are plantation grown in Indonesia and for back and sides wood, Bali has an indigenous Acacia akin to Koa as well as the Prima-Vera like Balinese Temple wood. He even manufactures purfling in house. As with many workshops, the learning curve can be steep. Initial instruments were built too lightly, resulting in several warranty issues, something Wayan says he is “keen to avoid, but not at [the] cost of sound”

More recently, Wayan has developed a top featuring carved grooves in a linear geometric pattern in an attempt to increase the volume of the top. Amongst several things, this ‘Groove’ feature in particular has come under much scrutiny and critique from players and luthiers alike.

The argument being that the linear geometric pattern does not correspond to the more wave like patterns that top produces in response to picking. Furthermore, the carvings actually weaken the top which may cause more problems in the longer term. Other gripes include poor fit finish and questions about logevity of the instruments.

Let me give a first hand account of my experiences in the workshop. The fit and finish are now good. There is minimal purfling and rosette bleed, the routing for the binding is clean and the joints are tight. The interiors are clean, with little by way of glue spills. Guitars are checked and rechecked by a team including Wayan and then rechecked by Danny in Canada. The carving work was clean and although may not be everyone’s cup of tea, is certainly of a high standard.

Setup and action on the 3 demo guitars I played were up to Martin factory standards. The Groove guitar I played was Alaskan Spruce/ Mahogany Small Jumbo and was subjectively louder than the same non grooved guitar I compared it to. Longevity is something that even Danny and Wayan concede only time will tell.

Right, now to the hard part. The tone. I would stick my neck out and say that the tone is between the Fox production guitars and L’arrivees- which is not surprising considering the George Morris lineage and influence. The mahogany and Acacia guitars were projective and punchy with a good balance and strong fundamentals. I would place them on par with the above named tonal comparisons.

During my tour of the workshop I noticed several pictures at the setup area, outlining previous flaws and faults. All throughout the trip, Wayan was very involved in every aspect of production as well as open and honest. I saw faults being corrected and improvements made. All of this is indicative of a highly motivated, skilled group of individuals focused on building guitars which sound, feel and wear better.

©2009 Terence Tan. terence@guitarbench.com

The author and Guitarbench.com wish to thank Danny, Wayan and the team at Blueberry guitars for the opportunity to tour the workshop.

Disclaimer: No part of the trip was financed by Blueberry guitars or their associates. The author received no gifts or incentives other than honest hospitality received at the workshop to produce the article above. The author does not own or represent or otherwise vests interest in Blueberry guitars at the time of writing.

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