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Richard Jernigan -> RE: Tom Blackshear (Jul. 7 2023 2:06:45)
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I first met Tom in the 1970s. Jerry Lobdill (RIP), then president of the old Austin Guitar Society, brought Tom in for a talk on guitar making. At that time Tom was voicing his guitars by sanding specific spots on the sound boards.Having no background in physics, Tom had to devise his own vocabulary for changes in tone quality. I couldn’t make heads or tails of what he said, until near the end of his talk. Then I realized that the places he was pointing to were the nodes and antinodes of the soundboard’s modes of vibration. I admired his ability to find these empirically, though I assumed he never thought of it that way.
I next encountered Tom here on the Foro. I followed his thread on the construction of a cedar/ Indian “Miguel Rodriguez” model classical. After he strung it up the sound intrigued me. Tom’s house and shop in San Antonio were only a couple of hours from my house in northwest Austin, so I made an appointment and drove down to hear it in person. I took the spruce/Brazilian Abel Garcia classical and the Arcangel Fernandez blanca to compare. Tom posted he would only sell for cash, so I left the house with some in my pocket.
Tom said mine were good guitars, but implied that his was as good or better. I liked his well enough to buy it. He threw in a Visesnut case for the price he quoted.
Googling yesterday I ran across a thread on Delcamp which listed the guitars I owned at the time (omitting a spruce/ Brazilian Contreras Sr. Doble Tapa) and quoted me saying on the Foro that I preferred Tom’s above the others. I tried but failed to find the post on the Foro. I can’t deny saying it, but my settled opinion is that the ‘73 Romanillos is the best guitar I have ever owned, though I agree with Antigoni Goni that it is hard to play. Your right hand has to be exactly right.
Tom’s “Rodrguez” is loud, brilliant, capable of a fairly wide tonal range, and is easy to play. Slightly uneven notes continue to improve with age and playing. There have been weeks at a time when it was the most played classical. The Garcia is very different, but at least as good. The Romanillos can be better if I can get my right hand used to it.
Tom’s guitar making philosophy was different from that of any other successful luthier I have known. He wasn’t looking for a distinct personal sound or design. He was interested in understanding the work of a few Spanish masters. He made copies and worked until he felt he understood the design and could produce a good sound. His voicing method shifted to sanding or shaving the fan braces. Describing a “Rodriguez” model he had for sale, Richard Brune said Tom’s guitars were sometimes better than the originals. Brune may be the only dealer I would believe, saying that about an instrument he was selling. Personally, I have never played a real Miguel Rodriguez.
After I bought the guitar we settled in for the first of several two- to three-hour conversations. We talked mostly about guitars, makers and players, many of mutual acquaintance. I visited Tom on several more occasions. A few times he brought up topics I had my doubts about, but generally I let them pass. A few times we disagreed, but maintained a conversational rapport. I thought we were both old enough to cut each other a little slack once in a while.
Tom had a loving wife, loving and loyal children. He was a devout Christian, but he never pushed it with me.
I will miss him.
RNJ
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