D'Alegria: low guitars and combine the art and craft
Luthier is a term that originated in France, from the word "luth" which means stringed instrument. Over time, became the name of the specialist in manufacturing instruments by hand.
However, today the term goes beyond: it is the professional who designs and manufactures instruments of extremely high quality, following the same system scale, but directing their work for quality. This is a unique product that can be tailored to the musician, according to their needs. The Luthier is, above all, a meticulous and a perfectionist. His art is equivalent to the musician takes the stage to give their best in their performance.
AD'Alegria was founded in Rio de Janeiro by Joy and Daniel Rodrigo Werneck, which aims to build guitars and basses with the standard of quality craftsmanship combined with cutting edge technology. Nothing better than knowing the work of these professionals, in an interview by Rodrigo Werneck.
Musictime: How did the idea of becoming Luthier? Why? In what year was the beginning?
Rodrigo Werneck: In 2002, both myself and my partner in D'Alegria Daniel Alegria, we were somewhat disappointed with the Brazilian telecommunications market, where we both come from. Daniel had an experience of 15 years in construction, repairs and services in musical instruments, in addition to playing bass, guitar and guitar (so amateur). I had many contacts in the music business in Brazil and abroad, because of my involvement in the production of shows and the magazine Musical Box, which I was co-editor. Put these previous experiences, we decided to start production of low custom craft, and in January 2003 was the D'Alegria.
The company began production of low, and most recently guitar. How did you feel this open market?
Yes, we start with the production of only low. The first model was the Dart, then the Defender, the Dragster, the Discovery (upright bass), and finally the guitar Dimension, in 2006. Recently, we launched another model down the Dragon. Initially, we restricted to low to be a market share of less congested compared to the guitars, for example. Over time, however, we decided to do a test by launching a model of guitar, this test which turned out to be quite positive. During the first years, many guitar players charged in a line of guitars. The construction techniques are very similar, after all. Although there is much more competition in the market for guitars, there is also a much larger consumer audience.
Today, there is a great discussion about the extraction of hardwood forests. With the D'Alegria comes to this issue?
Some of the assumptions we adopted in the choice of woods for our instruments are: the use of exclusively Brazilian species (do not use woods like Ash, Alder, Ebony, Maple, etc..), And specifically the non-endangered (do not use Rosewood, Mahogany, among others, except possibly one or another piece from demolition). Moreover, we seek qualified suppliers, sources that make the extraction following standards and environmental concerns, replanting, etc.. Brazil is one of the countries, possibly * the * country, with one of the largest reserves and the largest number of tree species at our disposal. So we have to pass the test and use great alternative to traditional species, with results equal or superior. Today, use a lot of Freijó, the Ipe, the Purpleheart, the Garapa, the Tauari the Cherry, the Marupá, the Cumaru, among other species.
What are the basic steps to produce an instrument?
Before the production itself, we define the 
client to complete configuration of the instrument, so that we can choose the most suitable timber. This affects both in the aesthetic and noise characteristics, and the weight of the instrument. We then select the pieces of wood to be used, cut arm, body and scale following the form of the model chosen, and if the case (aesthetic choice) pasted sheets of lining in the front body and hand. We proceed with the rounding of edges defining the contour of the arm, glue scale tensor after installation, installation of frets and scale markers, and finally lixações of all parts to receive the finish. All steps are done in a fully manual, or using tools and machines handled manually. We do not use CNC (computer-controlled equipment) in any process.
The next step is the finishes. Body and arm receiving finish polyurethane (PU), shiny or satin (semi-matte), and if any are dyed, or remain with the natural look of wood. In the case of the glossy finish, is the final step of polishing. Then proceed with assembly of the instrument, leveling the frets, lining the cavity with electric copper (to avoid picking up unwanted noise in the future), installation of sensors and electrical work, installation of hardware (bridge, tuners, knobs, etc. .) placement of strings and final adjustment. The whole process takes about 3 months.
Although the craftsmanship that involves instruments, D'Alegria also uses the latest technology in the development of the electronics section. Can you explain it?
Accurate. As both my partner and I are electronic engineers graduated from PUC / RJ, developed our own preamp 3 bands (with bass, mid and treble), following the best techniques to achieve high performance, in addition to using electronics are first class.
Initially this was pre handmade in our workshop, one by one, but after a while it became necessary to produce it on an industrial scale, and the pre has to be supplied to other brands or even individual customers, for installation on instruments do not necessarily manufactured by D'Alegria. Was born there the preamp, which sells not only does the pre-(TC-3B), as well as pickups wound by hand to bass and guitar, single coil "and" pickup "(" doube coil ").
This development is a major attraction of the company? This is a differential?
For a long time was indeed a difference, and many people bought our instruments for pursuing this combination of wood alternatives, high-grade hardware (Gotoh, Hipshot, Grover, etc.., Elixir strings), and electrical arrangement. In the pre, also developed the "Vintagizer, a rotary 6 position that provides different sounds for the instrument, ranging from a brighter sound and modern to something more" stuffy ", closer to the instruments vintage, hence the name control. The "Vintagizer" is still an optional feature totally exclusive D'Alegria, because it comes apart.
Among the endorsers of the company is veteran musician Trevor Bolder, the classic band Uriah Heep. How did you get this info?
I have contact with the staff of Uriah Heep in 1995 and have been involved in various activities with them, from the band's own website to organizing shows, both in Brazil and England. When we started D'Alegria in 2003, came in contact with Trevor, who took a test was low because without endorsee at that time. Had tested several basses from other manufacturers such as Warwick for example, but had not adapted and continued using his old Fender Precision bass 1973. When testing a Defender JB ours, enjoyed it and have provided 2 to it, each with 4 strings, the latter being a signature model, the Defender TB - Trevor Bolder model. Coincidentally, today I received an email from Trevor asked me to provide a low 5-string, he will need to tour in support of Heep's new album, called "Wake The Sleeper"!
Other endorsers come through our distributors out there, such as bassist U.S. Trae Pierce, the legendary band of soul / gospel Blind Boys of Alabama. Here in Brazil we also have names of respect in our time, such as Andre Neiva (Jorge Vercilo, Cama de Gato), Zuzo Moussawer (solo artist, currently in USA), Bruno Migliari (bands Frejat and Ana Carolina) and Jorge Pescara (Banda the Ithamara Koorax).
Recently Defender JB Deluxe bass was analyzed by the American magazine Bass Player. What do you think of this effect? The idea of the company is placing its products in foreign markets.
Indeed, increasingly we have increased the distribution of our instruments abroad. Currently, we sell more abroad than in Brazil. We are distributors for several years in the U.S., Canada, United Kingdom, France and Japan We closed at the end of last year with a new distributor in Sweden, who will work in all of Scandinavia and Finland also. And we are now negotiating with a distributor in Germany, which also includes Austria and Switzerland. The foreign market is a priority for us, without neglect (or neglect) the Brazilian market.
We have participated in fairs abroad, together with our distributors, such as issues of NAMM (USA), London Guitar Show and Music Live (both England), and Musical Instruments Fair in Yokohama, Japan Next year our instruments should be present at Musikmesse in Frankfurt, Germany. And here in Brazil, we have participated every year of Expomusic of Sao Paulo.
In the analysis conducted recently by Bass Player (USA), have already left more subjects in magazines Bass Guitar Magazine, Guitarist, Guitar & Bass (all three of England) and Bass Magazine (Japan), and sites like Ultimate-Guitar.com ( USA) and Audiofanzine.com (France). Off course Brazilian magazines such as Cover Down, Cover Guitarra, Backstage, music scene, among others, as well as sites such as the Territory of Music, etc..
How many guitars and basses the company produces on average per month?
We have a production average of 5 to 10 instruments per month. It varies a little depending on the season. For example, at the time of the fair summer and fall on the northern hemisphere, the production tends to increase. An interesting detail is that the number of guitars produced has reached the number of levels. With the new distribution agreements, however, we anticipate an increased demand for the coming months, especially abroad.
One of the advantages that the D'Alegria offers its customers is the choice of components that are present in the instruments from the wood of the body and the arm to the electronics section. This makes the product closer to customer taste, is not it?
Yes, this is the basic premise of the instruments "custom made". Our customers really value the possibility to choose every detail of their instruments, among the alternatives we offer. There are several choices to make, model, wood, color of the instrument, electrical, hardware, among other details. The fact that our instruments are all handmade, one by one, in a personalized way, is a big attraction for many musicians, professional or amateur.
What do you think the work of a luthier in Brazil? What are the difficulties?
It is a difficult market, disputed, but with two different approaches. There are luthiers, say, low profile, operating more localized, which based its disclosure in the "word of mouth. For a certain angle, is a less professional performance (do not mean the quality of the building itself). There, on the other hand, luthiers (or firms luthiery) with a more professional operation, aimed at larger markets, with a marketing scheme more structured, schematized distribution, etc.. AD'Alegria is incorporated in this second group, which does not have many members in Brazil.
The main difficulties here in Brazil, are to demonstrate how different instruments customized "handmade", the instruments made in series by the big brands. The Brazilian also has a tendency to overvalue foreign products rather than what is done in our country. That is changing, but it is a slow process. In the exterior, there is a great appreciation of everything that is handmade, and there is also a great appreciation of tropical timber we use.
How do you see the future of the profession? And in competition with big brands?
I think there will always be room for instruments made by hand, so customized. What happens today is that the mass-produced instruments are getting better, reducing the distance (in terms of quality) to craft instruments. The difference in price, however, is increasing. The rise of Asian manufacturers said that the market phenomenon, which occurs in many other areas of products and services, as we all know. This makes the scenario more difficult, but this is a phenomenon that affects more strongly the great Western brands such as Gibson, Fender and others who are having to join the Eastern manufacturers are competing for themselves, with lines of instruments cheaper. "If you can not beat them, join them".
Already the market "custom made" works differently, is the whole issue of exclusivity, the fact that each instrument have its own characteristics. Wins in the bank of a highly specialized service, and not the quantity produced. It is logical that as the quantity produced increases, several issues appear in the process. As far as growing, without compromising quality? It is worthwhile to leave the production scale back, and go for something more automated? Each manufacturer handles these dilemmas differently, and with results that vary with the jurisdiction to deal with each scenario that presents itself. In a market that combines creation, art, with competition, professionalization, there is great risk involved in every decision.
Video: Trae Pierce and low Defender TP - D'Alegria:
Contact: D'Alegria Custom Made
Interview: Ciro Hiruma
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