After I highlighted Ormsby Guitars in my Australia Day feature a reader asked 'Where is a word for Maton guitars, as used exclusively by Tommy Emmanuel?' Fair point, I replied, and promised a post that would take a broader look at Australian guitar makers.
Seemed an easy proposition at the time. I thought we might have about a dozen luthiers across the entire country. Silly me! This list is not up to date – a couple of the links lead to dead ends - but even so there must be north of 200 individuals and small firms making guitars in Australia. Here's just a few.
Let's begin with Maton, who are not just suppliers for Mr Emmanuel*. Established in 1946, and still a family firm, Maton would have to be the best known name in Australian guitars. This clip advertised the retrospective exhibition at the Powerhouse Museum in 2020.
Maton started making acoustic guitars but during the 1960s built a reputation for electrics too. A Maton Mastersound played by George Harrison during the early years of the Beatles sold for $485,000 USD about ten years ago.
Locally, Maton supplied El Toro bass and guitars for The Strangers.
As supplies of traditional ebony and rosewood dwindled over the past fifty years, Maton have been pioneers in adopting Australian native timbers for their instruments. And they were among the first in the world – perhaps the first – to experiment with microwave drying of wood. Microwave drying, done right, makes quality timber ready for working in a significantly reduced time.
Australian luthiers are conspicuously experimental. I can't find any audio samples of this eye-catching instrument from Perth based Ellis Guitars. But as I say, on the visuals alone the Ellis Double Neck Acoustic demands attention.
Cole Clark Guitars set up shop in 2001 with the declared purpose of creating a Spanish heel, through neck acoustic guitar with the world's best pickup. The Spanish heel method begins with the guitar neck - the instrument is built around it, as opposed to the more common technique of building the guitar body first and then attaching the neck. Cole Clark have also created the TH True Hybrid - the guitar that has all the qualities of electric and acoustic, with no compromises. If I attempted to explain further I'd soon be in the quicksand. Over to someone who can talk intelligently on the subject.
Anthony Paine took the name Harvester Guitars from his neighbourhood. Sunshine, on Melbourne's west side, was once home to Sunshine Harvesters. Paine is also something of a harvester himself, finding the materials for his instruments in reclaimed timber. Including a recycled basketball court. Paine is using a lot of aluminium necks on his guitars, and takes his inspiration from some of the more obscure guitar makers of the Sixties, as he discussed in a recent podcast with Jason from Fretboard Journal.
One final note on the timbers. As mentioned earlier a lot of Australian native species are becoming popular with instrument makers. Best of all though for my money is the use of Camphor Laurel - which is NOT a native. It's an introduced species which has run wild in some parts of the country. There's plenty of stock for the luthiers and furniture makers. Turn a liability into an asset - love it!
*I have a Maton connection myself, having owned one of their 12 string acoustics back in my teens. In those days Maton was still in its Canterbury Road premises, just a mile or so from my home. Sadly, neither the instrument nor the proximity bestowed the blessings of Terpsichore. I put guitars aside, and after dabbling with the flute I realised I would never be more than a below average musician. My meme mastery was yet to emerge...
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