In Conversation with New Original, Cindy Hulej
Part old soul, part innovator, part patron saint of guitars, fully a New Original – we were thrilled to get to talk with Cindy Hulej of Cindy Guitars. Having learned luthiery from a true master, Rick Kelly of Carmine Street Guitars, Cindy’s approach to her work drips with knowledge and passion.
How did you get started building guitars?
I basically walked into Carmine Street Guitars and asked Rick Kelly if I could apprentice with him. I was following his work and I just knew I wanted to do something more unique and old school – thatās what Iāve always been about.
At that time, he had already been making amazing instruments by hand for forty years. The way he contributes to the world by using special reclaimed wood really spoke to me. The wood he uses has a soul, whether itās 150-year-old hard rock maple, stunning old Gaboon ebony, or the reclaimed wood weāre known for using- from places like the Chelsea Hotel, Trinity Church, McGurkās Suicide Hallā¦the list goes onā¦
Ā How are your guitars different than āoff the rackā guitars?
Theyāre different not only because of the wood and historical relevance it carries, but because Rick and I each handcraft our guitars from start to finish. There is no assembly line in our shop, itās Rick building his guitars and me building mine – start to finish. Everything from the templates to mixing the finishes.
I also have an art background, so Iām able to add my own woodburns, paintings, and drawings to my builds. Iāve done everything from pet portraits to buildings. Iāve added leather to my builds, and even feathers. I constantly experiment and keep an open mind in what I do. Vivienne Westwoodās Seditionaries line shirt that says āBe Reasonable Demand the Impossibleā always stuck with me. I try to keep the possibilities endless in my work and I think I come from a much more artistic stance than most people in this industry.
Where did the idea to use salvaged wood come from? How does it influence the design and sound of the final piece?
It started with Rick in his college years, trying to find cheaper materials to sculpt with (he went to MICA for sculpture). He would go to farm auctions and started getting all this great old wood. Then he taught himself how to make dulcimers so he could some extra cash selling at craft events. He eventually moved to acoustic guitars, then electric solid bodies and basses. He realized there was something different in older woodās tone and resonance.
Though using reclaimed wood has become our signature, itās always about creating the best sound possible. The pine neck/pine body guitars that we are known for are insanely resonant and a little warmer in tone.Ā Our process and wood selection allows us to craft wood guitar necks without metal trusses. You can really hear a difference compared to guitars stabilized with metal. The wood has such a history – expanding and contracting throughout the summers and winters 100-200 years in these old buildings ā and that age only makes the wood stronger and more stable.
Since weāre known for making these reclaimed pieces, people will send us tips when there is some treasure to dumpster dive. It makes the process that much more interesting.
What inspires your designs?
Iāve had ideas stem from printed fabric to architecture, paintings to songs, stories. I think Iām āone of those peopleā that can find inspiration in just about anything if I look hard enough. It helps me to remember to try to see the beauty in as much as I can.
Do you design in collaboration with the musician? How does their work or persona influence your process?
First and foremost, the most important thing is the sound. Each artistās sound determines the best shape. The detailed specs come next in terms of fret wire, shape and size of the neck, finish, etc. Then, for artists who appreciate something a little more customized, comes the detailing and artwork. Most of the time, itās very personal to the person, so that requires getting to know them and listening to their stories, which is a really cool part of my job.
I think every build influences me for the better, whether itās learning to work through a challenging design or just appreciating something different and new.
What would you say is the most important factor to your success?
I think the first thing is dedicating the time- putting your 10,000 hours in. You canāt go wrong with putting more time into learning something and Iāve always been very driven in that sense.
Ā Of equal importance is knowing when you need a break. I donāt really āworkā a day in my life because I love what I do, but Iāve learned that sometimes I do need a day to do mine own thing, regardless of the stack of work staring me in the face. When you put your mental, emotional, and physical health second to being a workaholic, then you will probably run into some issues.
Ā So, I guess you can say balance, determination, and a constant hunger for learning and doing better every day has been key for my success.
What does it mean to you to be a craftsperson?
It means that the things I make, that I put so much work and love into, may not only outlive me, but will continue to create in the hands of others. Rick and I always like to say that we make tools for creating music. A guitar is a tool. Iām crafting this thing with all this history- the wood has lived as a tree, had another life as building rafters in New York City, and now it lives as a musical instrument creating music to make people happy. What a life!
Do you have any tricks you use to enhance your creativity?
Iām always trying new things, whether itās a new medium for drawing or a new take on a tool Iāve had. Just the act of looking for new inspiration really helps me.Ā Some people have mood boards – I donāt exactly do that, but I have folders of saved images and things of the sort. I had one photo saved for years of a menās paisley tie and pocket square set that I always wanted design a guitar after, and was recently able to bring it to life for a customer. I inlayed black leather on the face and back of the guitar and designed and handprinted this golden-orange paisley print all over it.
Who do you most look up to in your field?
Rick Kelly. When I was thinking about making guitars, I was worried other stores would just have me learning repairs, but I wanted to build. I really thought – If I canāt get an apprenticeship with this guy, this may not work out at all, because I want to do something special and different. My appreciation and respect for Rick only grows every day. He is extremely knowledgeable- not only with luthiery, but with endless other subjects. He has always been creative and driven like I am. Itās important to have that sort of connection and understanding working next to someone every day. He helps me in more than just learning the craft, heās an angel.
What advice would you give to young people who want to build guitars?
I would say the same thing – and it doesnāt just go for building guitars, but anything you want to do – put your hours in, whether itās reading up on something or watching videos or talking to people who are doing things you aspire to. There are great companies like StewMac and Luthierās Mercantile who help make things easier in terms of the tools you need and instructional videos, etc.
Know youāre going to make mistakes, but try to make sure you learn from them and just keep going. Nobody is perfect but itās the passion you have that matters.
How has getting through the pandemic changed your work?
It hasn’t really, honestly. Iāve got a two year wait list on my work, so Iāve mostly been trying to catch up. Iām always making sure whatever client Iām working with is happy with the work. Then I just continue building to make the next clientsā ideas come true.
Who are some of your favorite musicians?
Iāve got interests in everything from old blues to big band, from 50s/60s āgolden oldiesā to classic rock, southern rock to new wave, electronic to anarchy punk, jazz to goth rock. Itās quite the list, but a lot of my favorites are in the punk and goth genres.
What does being a New Original mean to you?
I think that everybody should try to just ābe themselves,ā but social standards are kind of funny and get in the way of that for some people. Iāve never cared much what people thought when it comes down to it. Really just being unique, being yourself (how clichĆ©, ha ha). Following your gut on what you want and like, and not paying mind to anybody throwing negative vibes at you for it.
Follow Cindy at @cindyguitars and dive deeper into her work at cindyguitars.com. Images by Terrence Matlin, follow him at @terrymatlin.
