Brian Cohen, Luthier, Home Page

Maker of the Finest Classical Guitars in the Traditional Spanish Style.

Brian Cohen is an established professional luthier, having made over 500 instruments since 1972. Having started out making and repairing guitars in South Africa, in 1974 he travelled to the U.K. in search of an 'apprenticeship'- (hopefully with David Rubio [1934-2000], which in the event did not take place- however, David became a good friend, and remained a friend right until the end, and during the 26 years BC knew him, DR did much to inspire B.C. David Rubio gave his advice and suppport generously and freely over the years, for which BC is eternally grateful. BC also worked for him on occasions as an 'outworker' ). BC initially ran his own studio in London near the Portobello Road, then moved to a workshop in the Early Music Centre, founded by Anthony Rooley in 1976, where he shared the workshop space with many other makers, including Norman Myall, Bob Eyland, Norman Reed, Maish Weisman, Michael Sprake, Steven Murphy, Neil Hansford, Klaus Jacobsen and others. During this period, a tremendous amount of research was being done by all the makers into the authentic construction of lutes, theorboes, early guitars of all sorts, gambas etc, and the atmosphere of the centre generated an enthusiasm amongst the makers there to produce the best instruments around. BC made the first modern reconstruction at this time of the earlest surviving 'vihuela', (commissioned by Anthony Rooley,) with a fluted vaulted back instrument based on an original by Belchior Dias, 1581. There have been a few other reconstructions of this style of guitar since then, but the first was done in the Pottery Lane workshops in 1976 by Brian Cohen. Over the next decades BC made many lutes, theorboes, chittarone, violas da gamba, violins and cellos, etc, including a magnificent copy of the ivory 'liuto attiorbato' by Sellas commissioned by Toyohiko Satoh. However, throughout this period, BC always continued to develop and build his fine classical guitars.

In 1979, BC set up another workshop on his own in South London, where he concentrated not only on classical guitars but also researched classical Italian violin making techniques, and in 1986 won the prestigious Crafts Council Award, for cello construction, the only cello maker to have done so. BC then went on to win the Silver Medal in the Manchester International Cello Festival in 1990, ( no other competitions have since been entered,) and the 'bowed strings' still have a substantial part in the annual output. BC is also a member the 'Crafts Council Selected Makers' Index.

BC moved out into the countryside of Surrey in 1987, then into the centre of Guildford in 1997, renovating an old building, known as ' The 'Old Glassworks', where he now makes, restores and deals in all manner of stringed instruments, specializing in fine and rare guitars.

In 1991 BC was approached by Julian Bream to make a precise physical and acoustic copy of the 1940 Hauser 1 ( which was on loan to JB from Rose Augustine)- this relationship continued for some years, and by 1996 JB had commissioned some 8 guitars from BC. During this period, BC learnt a tremenduous amount from JB, mainly to do with the precise calibration and tuning of the wood prior and during construction, a method which BC further developed and has worked into a system now in use in all his guitars, known as 'Dynamic Resonance', the precise tunings and combination of tunings being a closely guarded secret for now, but will be published for the future. It is believed by BC that Hauser 1 developed and knew of some of these tunings intimately, as did some of the 19th C Spanish makers including Torres.

BC works in a very traditional manner, and any 19th C guitar maker stepping into the workshop today would instantly recognise the tools, materials, techniques and methods of making currently employed, to the extent that still in daily use is an original 19th C treadle circular saw, a treadle lathe, and countless original fine hand tools. Some handtools originally belonging to David Rubio are also in daily use, still used in making guitars every day. It is only by working the woods directly by hand in the traditonal methods that the authentic and full potential of the wood can be realised. BC specialises in making unique rosettes for each guitar, with the 'long grain' showing, a technique Torres used only once in FE 08, (see details of copies of this guitar elsewhere on this site) and this made possible by using these original tools. 'Compromise' is not a word used in the studio.

Many players of world renown are playing on, and have played on, BC guitars in concerts, recordings, and performances of all types. BC maintains the guitars of many of these players, and others, on a regular basis. The guitars are known for their lightness, easy action, dynamic range, and they are just a real pleasure to play.