The Beginning
Maton employed Brad Clark in 1990, after his assistance was requested by one of the owners. Between the early nineties and 2001 Clark was responsible for vast improvements in production, first in his role as factory manager and then as CEO1. Clark developed the AP4, AP5 and APMic preamp systems, eliminating the need for outsourcing for these components. Clark also introduced CNC (Computer Numeric Control) router or milling machines, CAD (Computer Aided Drafting) and CAM (Computer Aided Manufacture) to Maton2. As a direct result the company’s productivity soared, growing from fifteen production staff to forty-five, and increasing output from 1,000 pieces a year to 5,000 by the late nineties.
Despite these massive advances, Clark was asked to leave Maton in mid 2001. Although this was disappointing given his substantial contribution, Clark reflects 'Such is the nature of professional appointments - especially true of a family owned business'. However, every cloud does indeed have a silver lining. Maton’s loss was the music world’s gain and Cole Clark Guitars was born at the end of 2001.
The Difference – Materials and Environmental Harmony
While perusing Wood in Australia by Keith Bootle in 1998, Clark realised that Bunya Pine (Araucaria bidwillii) had perfect characteristics for the sound board of an acoustic guitar – Bunya is lightweight, strong (good modulus of elasticity), and has relatively soft or low Janka, a characteristic associated with the roll of top end frequencies. Clark also discovered Bunya is around 18% stronger than Spruce, a popular traditional choice. Unlike Spruce, Bunya grows relatively quickly, while maintaining its strength. There is a reasonable plantation resource in Southern Queensland and northern NSW, making Bunya an environmentally friendly choice. King William Pine (Athrotaxis selaginoides), an indigenous Tasmanian species was also been tried as an alternative to Spruce, but Clark considered the sound too mellow, dead even, a reflection of the timber’s lack of strength.
Blackwood (Acacia melanoxylon) is another of Clark’s favoured materials for guitar construction. 'If more farmers and municipalities would plant Blackwood along runoffs and water courses or allow it to grow, our streams and our land would be in better condition. It’s also a good financial investment, something we intend to prove by building quality guitars with this timber, adding value. Reforestation and plantations often exclude Blackwood and other less commercially recognised species. Unless something is suitable for mass production, it can be marginalised. This is a short-sighted, mono cultural approach that doesn’t support biodiversity.’
‘In many areas of Tasmania selective logging of old growth is considered environmentally unsound, yet vast areas of clear felling, where habitat and species are completely removed, have been tolerated. A more balanced approach should be advised. It makes good environmental sense to produce things from timber and to grow more trees. Any guitar maker must have a respect and love for trees.'
The Genesis of the Technology
Bradley Clark's late business partner and close friend John Steward developed DID (Direct Inject Drums) in the late eighties. The goal was to eliminate spill and cross talk and make multi-track drum recording easier, while simultaneously providing a trigger3.
Clark knew that most players prefer to purchase acoustic guitars with acoustic pickups, and that the underbridge systems generally associated with the amplification of acoustic guitars were often inadequate. The instrument's acoustic performance is better monitored by using DID, applied to the face and sometimes back of the acoustic guitar. Frequencies below 350Hz that are prone to feedback are taken from a bridge saddle piezo set, while higher frequencies can be taken from the sensor on the face, from the bridge saddle assembly, or a blend of the two.
In order to capture more of the performance of the soundboard a long sensor was simultaneously applied to be the brace and sensor. This innovative step to increase the monitoring of the instrument's soundboard as unobtrusively as possible is called the Face Brace Sensor4. Cole Clark has amalgamated the sensors with the instrument’s construction, reflecting the importance of the amplification of acoustic guitars and the evolution of playing styles. Clark notes that it is also consistent with 'The player's desire to hear the timber and the fact many contemporary styles have evolved around an amplified sound'.
The Vision
The ultimate goal for Cole Clark's acoustic guitar range is simple - to provide professional quality acoustic and amplified performance at affordable prices. This is complemented by a down to earth approach.
'Like many, I tire of marketing bullshit,’ Clark explains. 'I like the Subaru model. At one time Japanese cars were not respected, so Subaru’s answer was a product that spoke for itself with obvious performance.'
Clark is also driven by a desire to inspire creativity. 'It is probably a credulous ambition, but I would like to see more people playing together, exploring their creativity and their music, living their own lives rather than sitting idle in front of the TV experiencing the creativity of others. Our aim is to provide a quality avenue to make that possible. Rather than worshiping music idols, be your own. I have met many of your idols and I can assure you that many are not worthy of your accolade. And after all, most of the greatest songs are written around a few guitar chords.’
Clark’s outlook can perhaps be summed up in one simple sentiment.
‘I have a great reverence for simplicity, good production and trees.'
Patent Information
- Patents held on Maton's behalf: A headstock join patent/ lapsed.
- The Cole Clark method of construction jigging is however new and novel and was patented: US May 23, 2006. Patent Number: 10/554,977
- Patent Number 5,134,1920. DID PCT/Au 2044/000858 April 22, 2005. Bradley Clark.
- The Face Brace Sensor is Patent Pending/ Provisional: 2005904741 January 31, 2006/ Bradley Clark.
