D'Alegria: basses and guitars combine craft and technology
Luthier is a term that originated in France, from the word "luth" which means stringed instrument. Over time, it became the name of an expert to make instruments by hand.
However, today the term goes much further: it is the professional who designs and manufactures instruments of extremely high quality, handcrafted using the same system, 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 his best in his performance.
AD'Alegria was founded in Rio de Janeiro by Joy and Daniel Rodrigo Werneck, which aims to produce bass and guitar 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 to become a 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 by the Brazilian telecommunications market, where we both come. Daniel had an experience of 15 years in construction, repairs and services for musical instruments, in addition to playing bass, guitar and violin (as amateurs). I had several contacts in the music here in Brazil and abroad, on account of my involvement in productions and concerts with the magazine Musical Box, which I was co-editor. Putting these previous experiences, we decided to start production of low custom craft, and in January 2003 was the D'Alegria.
The company started production of low, and most recently guitar. How did you feel this market opening?
Yes, we start with the production of only low. The first model released was the Dart, then the Defender, Dragster, Discovery (upright bass), and finally the guitar Dimension, in 2006. We recently launched another model down the Dragon. Initially, we restricted to low to be a market share less "crowded" compared to the guitars, for example. Over time, however, decided to do a test by launching a model of guitar, this test which ended up being very positive. During the first years, many guitar players charged in a line of electric 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 considerable discussion about the extraction of hardwood forests. With the D'Alegria comes to this subject?
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 such as Ash, Alder, Ebony, Maple, etc..), And specifically the non-endangered (do not use Rosewood, Mahogany, among others, except possibly one or other part coming from demolition). Furthermore, we certified suppliers, sources that make the extraction following standards and environmental concerns, replanting, etc.. Brazil is a country, possibly * the * country, with one of the largest reserves and the largest number of tree species at our disposal. So as we try and switch to alternatives to traditional optimal species, with results equal or superior. Nowadays, we use quite Freijó, the IPE, the Roxinho 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 with 
customer to complete configuration of the instrument, so that we can choose the most suitable timber. This affects both the aesthetics as part of the sound characteristics, and weight of the instrument. Then, selected pieces of wood to be used, cut arm, body and scale along the lines of the model chosen, and if necessary (option aesthetics) pasted sheets of lining in the front body and hand. Proceed with rounded edges, defining the contour of the arm, glue scale after installing the tensioner, installing the frets and scale markers, and finally lixações of all parts to receive the finish. All steps are done completely manually, or using tools and machines handled manually. We do not use CNC (computer controlled equipment) in any process.
The next step is to finish the pieces. 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 bright finish, there is the final step of polishing. Then proceed with the 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 three months.
Despite the craft work that involves instruments, D'Alegria also uses cutting edge technology in developing the electronics section. Can you explain it?
Exactly. As both my partner and I are electronic engineers graduated from PUC / RJ, we developed our own pre-amp three bands (with controls for bass, mid and treble), following the best techniques to achieve a high performance, in addition to using electronic components of the first category.
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 is now supplied to other brands or even individual customers, for installation in instruments do not necessarily manufactured by D'Alegria. He was born there the ToneChaser, which sells not only does the pre-(TC-3B), as well as pickups wound by hand to bass and guitar, "single coil" and "humbucking" ("doube coil").
This development is a major attraction of the company? This is a differential?
For a long time was indeed a gap, and many people bought our instruments for seeking such a combination of alternative woods, top quality hardware (Gotoh, Hipshot, Grover, etc.., Elixir strings), and electrical work alone. Besides the pre, also developed the "Vintagizer", a 6-position rotary switch that provides different sounds for the instrument, going from a bright, modern sound to something more "stuffy", closer to the instruments "vintage", hence the name control. The "Vintagizer" is still an optional feature totally exclusive D'Alegria, since it is provided separately.
Among the endorsers of the company is veteran musician Trevor Bolder of Uriah Heep classic band. How did you get this contact?
I have contact with the staff of Uriah Heep since 1995, and has got involved in various activities with them, from the band's own website to organizing concerts, both in Brazil and England. D'Alegria When we started in 2003, came in contact with Trevor, who accepted a test down because he was no endorsee at the time. There were several low tested from other manufacturers such as Warwick, but had not adapted and kept using his old Fender Precision bass 1973. By testing our model Defender JB, liked a lot and already provide two to it, both 4-string, the second being a signature model, the Defender TB - Trevor Bolder model. Coincidentally, today I received an email from Trevor asking me to provide a 5-string bass, which he will need to tour in support of Heep's new album, called "Wake The Sleeper"!
Other endorsers come through our distributors out there, as is the case with American bassist Trae Pierce, the legendary band soul / gospel Blind Boys of Alabama. Here in Brazil we also have names of respect on our team, 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 (band the Ithamara Koorax).
Recently Defender JB Deluxe bass was analyzed by the American magazine Bass Player. What do you think of the repercussions? The business idea is to place their products in overseas markets.
Indeed, increasingly we have increased the distribution of our instruments abroad. Currently, we sell more abroad than in Brazil. We have distributors for some years in the U.S., Canada, UK, France and Japan Closed at the end of last year with a new distributor in Sweden, which will operate 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 despise) the Brazilian market.
We have participated in trade fairs abroad, together with our distributors, like issues of NAMM (USA) London Guitar Show and Music Live (both England), and Musical Instruments Fair in Yokohama, Japan Next year, our tools should be present at the Musikmesse in Frankfurt, Germany. And here in Brazil, we have participated every year of Expomusic of.
Besides 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 basses and guitars, the company produces on average per month?
We have a production on average 50-10 instruments per month. This varies slightly depending on the season. For example, at the time of the fairs in summer and autumn in the northern market, the production tends to increase. An interesting detail is that the number of guitars produced has reached the amount of downs. With the new distribution contracts, 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 closest to the customer's taste, is not it?
Yes, that's the basic premise of 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 be made, the model, timber, color of the instrument, electrical, hardware, and other details. The fact that our instruments are all handmade, one by one in a personalized way, is a major draw for many musicians, professional or amateur.
What do you think the work of a luthier in Brazil? What are the difficulties?
It's a tough market, disputed, but with two different approaches. There are luthiers, say, low profile, operating more localized, which base their posting on word of mouth. " For a certain angle, is a less professional performance (I do not mean the quality of the building itself). There are, however, the luthiers (or firms luthiery) with a role more professionally focused on larger markets, with a marketing scheme more structured, schematized distribution, etc.. AD'Alegria falls in this second group, which does not have many members in Brazil.
The main difficulties here in Brazil, are to demonstrate how they differ instruments customized "handmade" series of instruments made by the big brands. The Brazilian also has a tendency to overvalue foreign products instead of what is done in our country. That's changing, but it's a slow process. Already abroad, there is great appreciation of everything that is handmade, and there is also a great appreciation of tropical wood 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 instruments are manufactured in series best ever, decreasing the distance (in terms of quality) for handmade instruments. The price difference, however, is increasing. The rise of Asian manufacturers marketing explains the phenomenon that 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, not the amount produced. Of course, as the quantity produced increases, appear several issues inherent to the process. As far as growing, without compromising quality? It's worth leaving the craft production back and head for something more automated? Each manufacturer handles these dilemmas differently, and with results that vary from jurisdiction to deal with each scenario that presents itself. In a market that combines creation, art, with competition for work, there is a risk involved in every decision.
Video: Trae Pierce and low Defender TP - D'Alegria:
Contact: D'Alegria Custom Made
Interview: Hiruma Cyrus
