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references an article from the Mandolin Magazine (Fall 2001) Builder Rosta Capek - An Old-World Connection by Ginny Hollon From the old-world tradition of violin making in the heart of Europe, Czechoslovakian luthier Rosta Capek has found his niche specializing in constructing totally hand-made, custom bluegrass mandolins. Rosta Capek, his wife Sylvi, who originally is from Cyprus, and their five-year old daughter Sophia, make their home in Prague, the capital of the Czech Republic where he has lived his entire life, except for the time he spent studying. "The location of the country and the capital is very convenient for me and my work because they are just in the middle of Europe, so I have access to all European countries." Both of Capek's parents were musicians. "My father founded, in 1971, the first all-woman bluegrass band in our country. The name of the band was Schovanky - Poster Daughters." "My mother played banjo in this band. During the 1970s and 1980s this band belonged to the most popular bands in Czechoslovakia. The bluegrass music was becoming more and more popular and during the communistic regime it was quite difficult to get records of this music, music notes and good instruments like banjo." "During the 1980s, for the first time, our country was visited by Johnny Cash. He was very surprised when he saw the band. They became very good friends. The band got several invitations to the U.S., but due to the regime they were not allowed to go because the communists were afraid that they would ask for political asylum." Capek reflected back to when he started to play violin at four years old. "About four years later I stopped and I changed the instrument. I started to play guitar and, finally the five-string banjo." "Recently I don't play too much - it's something like my hobby. I spend all my time producing instruments." Trained originally as a violin maker, Capek studied instrument making at a prestigious school for violins at the Cremona factory in West Bohemia, city of Luby u Chebu. Capek studied history and technology of musical instrument production at the secondary modern school. (Comparable to a U.S. high school.) "My dream was to continue the studies also abroad - but, again, for political reasons that was not possible. Then I had to go to the military for two years." Capek grew up surrounded by instruments. "I looked at them, touched them, played with them and as a small boy I went very often with my father to see one violin maker who repaired all the instruments for the band. I always liked his workshop - the smell of the finish and exotic timbers. When I was 13 I definitely decided." After his violin-making education, he was on his own learning about bluegrass instruments. "Also Mr. Gibson was an amateur and he used a violin pattern and violin plates for mandolin production. I am using lot of production methods which are used making violins." He also has experience doing repairs but "that's long time ago. I don't have time to do them. I do the regular service of my instruments. And, I am renovating some instruments that are worth it." "You have to decide if you want to repair instruments or if you want to build and to invent new ones. But I am not underestimating repairs. Sometime the reparation of a vintage instrument is more complicated then the construction of a new one. It's good to know both disciplines." Capek said that even while he studied violin making, he began building mandolins and banjos and has constructed them regularly since 1985. "I have built almost 200 pieces of mandolin family instruments - F5 mandolins, then A-models, mandolas and now I am building some mandocellos. For many years, I have had my own models, from basic models to the most expensive ones." His line of mandolins includes the Basic, Professional, Old Era, Sofia (the most expensive, named after his daughter) along with modifications of these models. He said the most unusual model is one he built for Radim Zenkl. "He needs, for his style, a wide fingerboard. That was quite a difficult task - to fit so wide neck to the corpus of standard size. But the result was great." Capek also has made similar models for Radim's pupils and musicians who play the same style. He also has constructed several unusual mandolins and banjos for David Grisman and Joe Craven. "I just want my mandolins to play well as much as possible. I think that everyone is trying to achieve the sound of the best Lloyd Loar mandolins. But, I am satisfied if my clients like the sound of my instruments." "I always try to get rich, solid and loud sound. The single tones on each string have to be equalized and concrete, but that also depends on the player." "You have to pick up also good plates and work them correctly. And the age of the timber is very important. I can work the different thickness of the top plate according to the age of the timber, density and stiffness, how soft the timber is. You don't have this possibility in a factory." "I spend lot of time choosing the timber. For the back plate I am using Bosnian maple which is the best one for violins and for music instruments generally." "Even the most famous violin maker, Stradivari, was using it. And in our country in South districts, called Sumava, we have very good spruce. For banjos I am using mahogany, walnut and other exotic timbers like ebony, rosewood, ovankol, a native wood like mahogany, but harder, and a more greeny-brown color." "I was lucky because I had the opportunity to buy very old, resonant spruce and maple from one violin maker's inheritance. I have timber from 50 to 100 years old. And, the age of the timber is one of the most important things." "If I have to say which luthier I respect, I have to say Steve Gilchrist. His work is absolutely clean, very nice leveled sound. And he is a gentleman. And the other luthier I have to mention is John Monteleone. His contributions are also very important. And he is also very special man." In addition to constructing mandolins, Capek builds banjos. "I am building many models including small uke banjos and mandolin banjos. I am making 50 instruments per year. The mandolins I am making by myself. But I have an assistant helping me with the banjo production. I don't have employees. "Fortunately in our country there is a long tradition of music instrument production, especially violins. So there are not many obstacles. You'll find here music instruments that are handmade but also those that were made in the Czech factory, Strunal, in Luby u Chebu City. "My production is completely handmade - both mandolins and banjos. The advantage is that I can react to any demand. I have time to choose the material for every instrument coming out from my workshop. I can fit the wood of the neck, plates, rims. "Of course the production then is little bit longer but good instruments deserve time." About bracing, "Usually I am using the parallel braces especially on mandolins with F5-holes. For the mandolins with oval holes, I am using tone-bar or X-braces. It depends what sound I need to achieve. "I think that the arched fingerboard on the mandolin is not necessary. Regarding mandola and mandocello that's more reasonable. I am making my mandolins with flat fingerboards, but if someone wants arched, I'll make the arched one." He uses the "classical metal tailpiece", the Monteleone one upon demand. "The ebony bridges I make by myself. Ebony bridges are very hard, good for sound. Sometimes I make the top part of the bridge from bone but then the sound is very sharp." Capek said that finishing is one of the most important processes and it needs lot of care. "I am using a nitrocellulose finish but that depends. I am also using so-called violin spirit lacquer. That one is more expensive and it needs greater care to maintain." When asked how his instruments have revolved and changed since he began building, Capek responded, "Every luthier's work is devcloping. I can see it on my instruments I made few years ago. But that's just fine. In every branch you have to improve your work and you have to be better and better. Otherwise you can speak about stagnation " Almost all of his clients are bluegrass musicians. "But, you can find my instruments also between musicians playing country, folk, jazz, Dixieland, Irish music, classical music but also hard rock." His most interesting and famous clients? "I can rank David Grisman, Peter Rowan (mandola), Andy Statman (Mandolin F5), Radim Zenkl, Joe Craven. But for me every client is important and interesting. "I am building approximately 25 mandolins per year and I prefer traditional design. The F5 model is almost ideal. Hardly you need to make any changes. The shape is very close to the violin shape which remained unchanged for centuries. "The quantity of mandolins per year I build depends how decorated the mandolins are, speaking about inlay and so on. The waiting time for the mandolin is from four to nine months. Regarding banjos I can speak about weeks even days. "Most of my instruments are made to order. I am selling my instruments also in some shops in Western Europe where I have my representatives. In the U.S. you'll find my instruments in the shops of Mandolin Bros., Gruhn Guitars, First Quality. But my main dealer and representative in the U.S. is Mr. Neil Kendrick. I have to point out that he is not only a very good businessman but he is a also a very good luthier, making good guitars."
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