© Eva Máñez

Asier de Benito, luthier

I was born in Bilbao in 1978, and we moved to Valencia when I was a child. I began making instruments by myself and, after a while, I entered the Juan Crisóstomo de Arriaga Music School of Bilbao to study the Bowed Instruments Making career.
There I learned great knowledge in the field of construction, given by luthier Javier Guraya Ibarmia and also in physical acoustics, with the physical masters Jesus Alonso Moral and Unai Igartua. 
I studied both modern and historic bow making with archetiers Frédéric Becker and André Alegre, respectively. I have been a student, in addition, in several courses on early instrument making taught by master Jesús Reolid.
Nowadays I work in my workshop in Bétera (Valencia), surrounded by peace, where I make and restore stringed musical instruments.

THE WORKSHOP

Wood
I use selected and properly seasoned wood. This means that, after the acquisition, wood planks are stored to dry naturally in the air without artificial heating which can change its properties. Every piece of every instrument I build is carefully studied before choosing what kind of wood using and how to cut it (grain running, rings disposition, etc ...). I also always choose historical criteria such as commercial inventories to know what species were traded in each period and which were used to build instruments. Again, the study of instruments preserved in museums give us very valuable information in this regard. So, to make the body, I use mainly European woods such as cypress, maple, birch, pear, walnut, cherry, linden... but also other from America, Africa or Asia, like Rosewood or Pau Ferro.

For soundboards I use almost exclusively European Spruce (Picea abies), because it has the best characteristics between all species. In the case of items subject to increased wear or mechanical stress, such as pegs, fingerboards, nut, tailpiece, or buttons, it becomes necessary to use highly resistant materials such as ebony, boxwood, pear... and even bone or horn. Due to the over-harvesting and industrial production, some materials such as ivory, tortoiseshell, and some species of tropical timber are near of extinction and its trade is now prohibited. In these cases I use substitutes that match similar aesthetic and/or acoustic role. It is the duty of everyone to do and demand fair trade and use these materials with respect to the enjoyment of generations to come. 

Glue
I use animal glue of high quality and purity, obtained from tendons, bones or skin. Each has different properties and I try to use them accordingly. It is diluted in distilled water bath not over 65º C, so as not to spoil the collagen. However, I also use some modern synthetic resins for gluing thin joints, because they give high strength and an acceptable acoustical response.

I build my instruments using techniques and procedures which follow the traditional art of lutherie.

I'm always researching in new models and designs, to fit the player's needs.

Finishes
The purpose of finishing is to seal the surface of the instrument against moisture and wearing caused by use while highlighting the wood color and grain. I use organic compounds made by dissolving natural resins in alcohol or boiled linseed oil. An example is the shellac that is used in traditional guitar making and which is applied in thin layers with a pad (French polish). Also in this area I try to respect the historical criteria, for example, for medieval instruments I find much more coherent to apply beeswax or oil finish, giving a more natural looking to the pieces.