{"id":2054,"date":"2015-06-16T13:26:49","date_gmt":"2015-06-16T20:26:49","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=2054"},"modified":"2020-11-16T11:23:07","modified_gmt":"2020-11-16T19:23:07","slug":"new-mexico-luthiers-pimentel-sons-still-build-guitars-the-old-way","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/new-mexico-luthiers-pimentel-sons-still-build-guitars-the-old-way\/","title":{"rendered":"New Mexico Luthiers Pimentel &#038; Sons Still Build Guitars \u2018the Old Way\u2019"},"content":{"rendered":"<p>Is there any state in the United States besides New Mexico that has a \u201cstate guitar\u201d\u2014along with its state flower (yucca), state bird (roadrunner), state animal (black bear), and all the other inspired and obscure official designations that legislators have come up with through the years? It was in 2009 that Governor Bill Richardson signed the authorization to make <strong>Pimentel &amp; Sons Guitarmakers<\/strong>\u2019 \u201cNew Mexico Sunrise\u201d acoustic guitar a state symbol\u2014two years later the New Mexico Museum of Art acquired one of the beautiful instruments for its collection.<\/p>\n<p>Pimentel &amp; Sons has an international reputation by this point, but it is truly a beloved institution in New Mexico, where the <em>familia<\/em> of Mexican immigrant Lorenzo Pimentel has been crafting fine custom instruments for more than six decades, since 1963 in Albuquerque. Lorenzo died in 2010 at the age of 82, but by then several of his progeny had been long entrenched in the business: of his 12 children\u2014nine boys and three girls\u2014sons Rick, Robert, and Victor all are master guitar makers (brother Agustin, also a luthier, died in 2014), and two of their other brothers, Hector and Gustavo, are professional guitarists. Their mother, Josefina, has been involved in the company since its creation and has been a strong guiding presence throughout. Lorenzo\u2019s own career building instruments goes back to his teenage years in the 1940s in Ciudad Juar\u00e9z, Mexico, where he learned the craft from his half-brothers.<\/p>\n<p>\u201cMy father, Lorenzo, started making guitars in Mexico and then in 1951 moved to El Paso, [Texas], where he worked at a bakery and also made guitars on the side,\u201d says Robert Pimentel, whose specialty in the company is, like his father\u2019s, making classical and flamenco guitars. \u201cThen they moved to Carlsbad, [New Mexico], which is where I was born, in 1953, and then to Albuquerque. As we were growing up, he worked in his garage making guitars, and as kids we were always around him, and he would teach us how he would do all the different things that go into making a guitar. So we learned the old way\u2014everything it takes to make a guitar by hand\u2014cutting the wood, making the rosette, making the nuts and saddle out of bone, working with the bridges and fingerboards, putting the necks together. We make everything here\u2014we don\u2019t buy anything premade, not even the rosette. We do custom inlays, of course.\u201d<\/p>\n<p>Did Robert, who is vice-president of the company (brother Rick, who mainly makes steel-string acoustic guitars, is the president), ever wish during his youth that he could go out and play baseball with his friends, instead of working on guitars? \u201cNo, but I wanted to go out dancing with girls, and my dad always said, \u2018You\u2019re not going to go dancing, you gotta work, boy!\u2019\u201d he says with a robust laugh. \u201cIt was OK, because that hard work taught me a lot, and I like to think I\u2019ve become a great guitar maker, which is something to be proud of. I can do anything to a guitar\u2014I can build it, repair it. I can put on a new top, a new fingerboard. I can put a new back on it.<\/p>\n<p>\u201cWe\u2019ve been working on guitars for all of our lives.\u201d<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/hnv96pe1e_Q?rel=0\" width=\"600\" height=\"338\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br clear=\"all\" \/><strong>ABOVE: David Stevenson of Dream Guitars plays a 1970 Pimentel concert guitar.<\/strong><\/p>\n<p>Though both of Robert\u2019s other guitar-making brothers also work on nylon-string classicals, Robert has filled the niche of building Pimentel\u2019s highly regarded Grand Concert models, and he hasn\u2019t been afraid to make a few changes to Lorenzo\u2019s time-tested designs. \u201cHe started making guitars a certain way,\u201d Robert says of his father, \u201cand as I grew up, every time I saw him do a Grand Concert, I always liked the way it sounded, but I felt like I wanted to change the bracing. He told me, \u2018Well, you have to do what you think is right, and if you want to change it, then change it. But I think my way is a pretty good way of making guitars.\u2019 I said, \u2018Yeah, it is, but I\u2019d like to experiment with other ways.\u2019<\/p>\n<p>\u201cAnd he did, too\u2014he always innovated. He always developed his own methods. He could see the bracing in other guitars, because you can take [the guitars] apart, but then he would change it because he really didn\u2019t want to copy anybody. And now that he\u2019s gone, I changed the bracing completely on the Grand Concert. I needed to make my own personal style of bracing.\u201d<\/p>\n<p>\u201cWe do two different ones,\u201d he continues. \u201cOne is the double-top Grand Concert Dobre, which has this honeycomb [layer] that we created with Port Orford cedar. First [there\u2019s the] top with the rosette, and then the honeycomb bracing, and underneath is a thin layer of western red cedar or European spruce, depending on the type of sound that we want to get out of the classical guitars. This promotes much more sustain and volume, whereas Nomex [a fiber carbon material used for honeycomb bracing in some guitars] is very bright and it does not sustain as well as wood, in our opinion. This new innovation was designed by myself and [my brother] Rick and was implemented about two years ago, and our customers really love the tone and volume.\u201d<\/p>\n<blockquote><p>In California, it\u2019s easy to get well-known right away [as a builder]. In New Mexico it takes longer.<\/p><\/blockquote>\n<figure id=\"attachment_2059\" aria-describedby=\"caption-attachment-2059\" style=\"width: 300px\" class=\"wp-caption alignright\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"wp-image-2059 size-full\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/06\/DreamCatcherFusion_back_3651.jpg?resize=300%2C773\" alt=\"DreamCatcherFusion_back_3651\" width=\"300\" height=\"773\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/06\/DreamCatcherFusion_back_3651.jpg?w=300&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/06\/DreamCatcherFusion_back_3651.jpg?resize=116%2C300&amp;ssl=1 116w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><figcaption id=\"caption-attachment-2059\" class=\"wp-caption-text\">The back of a Dream Catcher Fusion guitar<\/figcaption><\/figure>\n<p>The other bracing Robert has introduced is a new design that has five braces going from two cross-struts \u201cand one crossing over the other way. It supports the bridge real well because it\u2019s close to the bridge area. Hector Garcia, who used to be the classical-guitar professor for the University of New Mexico, said to me, \u2018Wow, Robert, this sounds even better than my Ramirez,\u2019 so he ordered it and he performs with it.\u201d<\/p>\n<p>He adds that all three brothers are always innovating in the bracing aspects of the instruments they build, whether it is a classical, acoustic, fusion, or jazz guitar, mandolin, or any other type of stringed instrument.<\/p>\n<p>Robert\u2019s father stockpiled tone woods that in some instances have become quite rare, a windfall for Robert. \u201cMy father was real smart when he was younger, and he bought a lot of Brazilian rosewood boards, a lot of ebony, a lot of East Indian rosewood,\u201d Robert says. \u201cSo we\u2019ve had this wood for many years, and as we purchase more lumber of any sort, it will be aged in our warehouse for at least 10 to 15 years before we consider it worthwhile for guitars. I went to Brazil a couple of times, and I could never bring back any [rose]wood\u2014it\u2019s an endangered species and has been since the \u201960s. We don\u2019t have a whole lot of Brazilian rosewood\u2014we have more of the East Indian\u2014but everything here is aged beautifully here in New Mexico because it\u2019s a really dry climate.<\/p>\n<p>\u201cOur woods are really nice and dry and when we get to work on them you get these great smells out of them still. They\u2019re not moist at all, and you take them anywhere in the world and they stand up.\u201d<\/p>\n<p>Spruce and maple are used on some guitars, as well.<\/p>\n<p>Different custom builds employ different woods, obviously, so it\u2019s not surprising to learn that Pimentel guitars can range in price from $3,500 to $45,000. \u201cI just finished two flamenco guitars\u2014one negra and one blanca,\u201d Robert says, \u201cand the negra was Brazilian rosewood and a German spruce top and ebony trim; $35,000. It\u2019s hard for people making guitars to make that kind of sale, but we offer a full lifetime warranty and full trade-in value.\u201d<\/p>\n<p>Besides building guitars\u2014Victor\u2019s other specialty is ukes and mandolins, though all three brothers build classical guitars\u2014Pimentel &amp; Sons also do restorations and repairs. Basically, if you have an instrument with strings on it, they\u2019ll work on it. But building guitars by hand will always be their main focus, and being off the beaten track hasn\u2019t hurt them so far\u2014indeed, their Southwest location has a certain romantic resonance with some customers.<\/p>\n<p>\u201cIn California, it\u2019s easy to get well- known right away,\u201d Robert offers. \u201cHere it takes longer. But more and more people know about us, and we have gotten a lot of recognition because we\u2019re a family that is still making guitars the old way. We don\u2019t even have machines to bend our sides, so we put them in water; then we use a hot oval electric iron and bend them by hand.<\/p>\n<p>\u201cAt the same time, we have to stay on top of what people want. A lot of young players now want the nylon-string, but they want the classical-jazz fusion [model] with the dreamcatcher and chili pepper [design] and the low action. It\u2019s a lot different than when they all wanted a Ramirez high-action like Segovia played. So we have to keep up with the changes and also innovate, keep making guitars that are different.\u201d<\/p>\n<hr \/>\n<p><strong>This article was originally published in the Summer 2015 issue of <em>Classical Guitar<\/em> magazine.<\/strong><\/p>\n<p class=\"p1\"><a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-378-summer-2015\" target=\"_blank\" rel=\"noopener noreferrer\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft wp-image-1641 size-medium\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover-227x300.jpg?resize=227%2C300\" alt=\"\" width=\"227\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover.jpg?resize=227%2C300&amp;ssl=1 227w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover.jpg?w=700&amp;ssl=1 700w\" sizes=\"(max-width: 227px) 100vw, 227px\" \/><\/a>The issue also features Jason Vieaux, Joaquin Rodrigo, female flamenco guitarists, a special focus on contemporary luthiers, and much more. <a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-378-summer-2015\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Click here for more information on the issue.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Is there any state in the United States besides New Mexico that has a \u201cstate guitar\u201d\u2014along with its state flower (yucca), state bird (roadrunner), state animal (black bear), and all the other inspired and obscure official designations that legislators have come up with through the years? It was in 2009 that Governor Bill Richardson signed the authorization to make Pimentel &amp; Sons Guitarmakers\u2019 \u201cNew Mexico Sunrise\u201d acoustic guitar a state symbol\u2014two years later the New Mexico Museum of Art acquired [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":2058,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5],"tags":[],"class_list":["post-2054","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/06\/1008_pimentel_0668-Edit.jpg?fit=800%2C931&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2054","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=2054"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2054\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/2058"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=2054"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=2054"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=2054"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}