A passion for playing guitars at an early age, combined with a love of wood learnt from his father, a bespoke cabinet maker, led Gary to become a guitar maker.

Southwell Guitars

During the years 1980-83, I studied at the London College of Furniture. My teacher was the wonderful Herbert Schwarz. I sometimes find myself tapping out a tune on a fret as I knock it home, the same tune that Herbert played as he first showed me how to fret. He told me that tapping this tune was a very important part of the process! His humour, along with his warm, caring, practical approach was all part of Herbert’s teaching style. The fact that many of the finest makers and repairers working around the world today have been taught by him, or inspired by his and his students’ work, shows the extent of his influence. I believe he stands at the centre of the modern British guitar making scene, which would not be so vibrant today without his unique input, though he was too modest to say such a thing.

I had additional tutoring from Tony Smith, and on historical guitars, from Stephen Barber, whose fine work with Sandi Harris can be seen at lutesandguitars.co.uk.

I have been making guitars and other stringed instruments professionally for over twenty years.

In 1983 I set up my own workshop in Nottingham specializing in 19th century guitars, the only maker specializing in this field at that time.

I have researched, and continue to research and document many instruments from around the world. I have worked on many collections: Edinburgh University, the V&A in London, the Paris Conservatoire and the Metropolitan Museum in New York. In 1991 I was given a grant by the British Council to study guitars in Russia. I spent many fascinating weeks in Moscow and St Petersburg studying collections and talking to makers there at a time when Russia, or the USSR, was not easily accessible to the rest of the world.

I have worked with many leading guitarists who perform 19th century music. I write, lecture, as well as consult for other makers interested in this period.

I returned to modern guitar making in ’92 with my own concert guitars and started developing my ‘A Series Guitar’ with David Starobin. I have been working with Julian Bream on Hauser guitars since ’95. I have also been working closely with John Williams developing systems for amplifying nylon string guitars. Most of my work schedule is now taken up with making my A Series guitars; with occasional special commissions (guitars made to customer specifications), or work on historical guitars.

A good stock of top quality timber is vital to any guitar maker. Here at Southwell Guitars I have from starting my career back in 1983 always been careful to build up a fine supply of timber. I have an excellent stock of European spruce, which was substantially added to a few years ago when Julian Bream gave me some 200 fantastic soundboards he had bought in the 1970’s with the help of David Rubio, he had been keeping them in his garage all this time. So I now have a superb stock of mainly German spruce all of which is at least 20 years old.

In addition to this I have a large selection of Brazilian and Indian rosewood, mahogany, maple, ebony and some native fruit woods and other exotic species.

I use traditional hide glues on all my guitars, for the sound quality it produces, for it’s proven longevity and for it’s practical properties in aiding repair work if ever needed.

My choice of varnish is an amber oil varnish that I make myself to an old recipe, which is a smelly and potentially explosive operation! It has a superb warm luster and excellent sound and wear qualities. I also make my own French polish which I sometimes use.

In 2002 I became ‘Southwell Guitars Ltd’. It doesn’t hurt, and I don’t feel any different (apart from a slight twinge in my left leg).

I have had the pleasure of working with many wonderful musicians; Julian Bream, Pat O’Brien, Leif Christensen and his wife Maria Kammerling, James Kline, Jacob Lindburg, Nigel North, David Starobin, Sting, David Tanenbaum, Scott Tennant and John Williams, to name just a few of my clients whom you will have heard of. Such collaborations produce a fascinating exchange of ideas, which informs all the work I produce.

Gary restoring a guitar for pop icon Sting.

Gary shaping the side of a guitar.

I love guitars.
I love playing them, listening to them and most of all making them.

Beyond Making Guitars

Gary and the Curt Collective Ensemble

The Curt Collective Ensemble	I not only makes guitars, I am a player, as well. I also direct the weird and wonderful ensemble, The Curt Collective. My two little daughters call it "Daddy's mad music".
	The ensemble grew out of the guitar duo, Curt Glance, which I formed with my friend and brother-in-law, Michael Wilson. We developed the Curt Collective along with a group of musicians, actors, composers and writers.	Gary in the Studio
Their latest project was a new score for the classic silent film, ‘Nanook of the North’, composed by Andrew Taylor-Maskrey and Gary Southwell. The UK tour finished with a sell-out performance at the Barbican in London. They are currently working on a recording of ‘Nanook’ and writing a new film score.

And, when I'm not playing with the Ensemble or making guitars, I may be playing with my bow and arrows. A very appropriate hobby for someone who lives on the edge of Sherwood Forest. But, unlike another more famous acher from Nottingham, I do not dress up in green tights. Well...not often!

But mostly I prefer watching and listening to my eight year old daughter Maria play the Irish Harp I made for her birthday. I'm not taking harp commissions at the moment. But, who knows what the future may bring?