Luthier Edward Klein : EdwardKlein Guitars

About Edward Klein and EdwardKlein Guitars from http://www.edwardkleinguitars.com/

Edward believes he is well suited to the challenging work involved in lutherie. Having a well rounded formal education in both technical and artistic disciplines, it is evident that Ed incorporates a multifaceted and inventive approach into his guitar making.

After graduating with a degree in mechanical engineering at the University of Windsor, Edward Klein spent a relatively short time working in industry as a professional engineer. Becoming increasingly aware of an interest in the creative arts, along with a passion for guitar making, Ed enrolled in the three year program at Sheridan College School of Crafts and Design in Oakville. This marked a change in career, beginning with a focus on studio furniture. Earlier musical exposure to the piano and guitar when younger now acted as a catalyst to eventually lead into becoming a self-taught luthier. The combination of studies in both technology and art is reflected in his creations, bringing a unique perspective often illustrating this duality.

Ed has produced and exhibited award winning work spanning over two decades, and continues to present innovative designs rich in personal expression, ranging from traditional to avant garde styles. Ed's recent projects represent some departure from convention, respect for tradition notwithstanding, with the intention of exploring alternatives that potentially improve function, provide beneficial features, or simply offer a different aesthetic treatment. It is to this end that Ed continues investigating form, surface, structure and the use of different materials and methods of fabrication in the design of the guitar.

‘ZigZag’, one of his newer models, is the outcome of an experimental investigation into the possibilities alternative materials and techniques can offer. Ed elaborates...Lightweight aluminum sheet metal, bent and folded in a corrugated manner, is mechanically riveted to the wood top and back. This method is celebrated aesthetically as a repeating element embellishing the body perimeter and soundhole. Sculpting on the head and bridge make reference to the ZigZag line, carrying this theme from the metal into the woodwork. The neck is mechanically joined to the body in an inboard fashion without a protruding heel, affording more comfortable reach in the absence of a cutaway when fingering in higher positions on the fretboard. The surfaces of the metal and the plastic golpeador (tapping plate) are decoratively patterned adding depth and layering. The sound emanating from these guitars is well balanced with a pleasant and subtle bright metallic quality. ZigZag was part of an exhibition ‘Mutations-Matière-Son’ at Centre Materia in Quebec City.

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