The soul of the craftsman
Julien Jalaguier
1- Respect for the environment
I mainly use European woods or exotic woods from sustainably managed forests.
The discovery of the Leonardo research project at the Berlin violin making fair (holy grail show) in 2018 will confirm me in this approach with a scientific approach. I myself cut old and rare woods of which I know the origin and history, the instruments become unique and carry a history.
2- Valorization of the tree
An industrial guitar manufacturer must standardize and make series from a homogeneous and large stock of wood. This standardization prevents the development of a remarkable tree with exceptional acoustic properties and almost exclusively focuses on tropical woods with problems of overexploitation (Rio and Madagascar rosewood ).
There is a great variability in mechanical and acoustic properties between trees of the same species and within the same tree.
To achieve consistency in manufacturing quality, it is therefore necessary to move away from industrial averages and work on each soundboard and each back according to their respective properties.
3- Handcrafted
Handcrafted manufacturing offers the possibility of making custom-made products to adapt to the requirements and morphology of the guitarist.
The parameters for making a guitar are very numerous, so the creative possibilities are almost endless.
My guitars reflect the variety of learning I received with traditional French, Spanish and Japanese know-how.
4- Precision rhymes with passion
Traditional violin making uses modern techniques, just like industrialists, but they are accompanied by rigorous finishes that only the human hand and know-how can provide.
5- Uniqueness of each guitar
Each model offered has its own personality and character, but to be able to guarantee consistency in the acoustic qualities of each instrument, I use modern techniques for acoustic characterization of soundboards and backs. There are as many guitarists as there are personalities, it is with this in mind that the luthier works on your guitar. The final adjustment of a guitar is a meticulous and decisive step for the playing comfort of the musician. In the event that you come to collect your guitar in the Workshop, or if you make an appointment, the adjustments of your guitar will be based on you. Thus, your guitar is unique and suits you perfectly.
6- Natural varnishes
Within the same product family, there is a great variability in hardness and elasticity. Some polyurethane or cellulose varnishes, finely worked, will give very satisfactory acoustic results. But overall, guitarists agree that they always restrict vibrations more than a shellac polish.
This aspect and the toxicity of the solvents associated with them, led me to prefer the use of natural varnishes with exceptional acoustic properties and free of solvents toxic to the environment and humans. The quality of the shellac is taken into account, but – just like in cooking – it is above all the recipe and the methodology, which will lead to a varnish that does not hinder the acoustic qualities of the instrument.
I work the varnishes like the master varnishers of the 20th century, in order to obtain sufficient depth and protection. The layers are very thin but very numerous, the varnishing process thus extends over several months. For the handle I use a different natural varnish recipe which is more resistant to perspiration.
Julien Jalaguier
Luthier, ingénieur et fondateur de Nyl Guitars
1992
Beginning of learning classical guitar.
2000 - 2013
Scientific studies and engineering projects in France and internationally.
2011
Guitar making course with Pascal Cranga in Donzy le Pertuis in France.
2012
First guitar manufacturing/repair workshop
2013
Training in guitar manufacturing, repair and maintenance at the “ l'esprit du bois ” training center in Cluny, France.
2014
Current manufacturing workshop.
2015 - 2016
Training with Richard Baudry in Estaires, France.
2020
Improvement with master luthier Pansaeng Chantarangkul , who received lessons from Yuichi Imai (2008, Tokyo, Japan), José Luis Romanillos and Liam Romanillos (2012, Siguenza, Spain),
Henner Hagenlocher (2015, Granada, Spain) and Jeffrey Elliott (USA).