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Interview with Chris Baird

by Joe Mendel

Chris Baird has a passion for music, but realized he wasn't going to be able to make a living playing an instrument. He discovered that woodworking is one of his talents; in high school he won awards for his work. After high school graduation he supplemented his income doing general carpentry, cabinetmaking, and decorative carving, while holding other jobs.

His music has been limited to playing in jam sessions, but he's always had a desire to be involved in an artistic career. A few years ago an idea struck him like a thunderbolt; it's possible to build musical instruments and make a living at it. After deciding what he was going to do he read books and scoured the Internet for information. He then started building and learning through trial and error.

Joe Mendel: Chris would you tell us a little about your career in woodworking and your interest in music?

Chris Baird: I learned most of the basics during high school. At that time I realized I was good at woodworking but it didn't mean anything to me. I did a little work in construction and cabinet building and that has been one of my odd jobs. Until I started mandolin building I rarely stayed with one type of work for more than a year. I started with decorative carving about 8 years ago, both wood and stone. I enjoyed that kind of work but there was no money in it. I just enjoyed it for its artistic expression.
As a kid I got an electric guitar and started learning to play 60's rock songs, a very typical start in music. I was terrible and so were all my friends, but it didn't matter because we had fun. At some point I lost all interest in pop music and culture and I just sort of dropped out of the mainstream and moved to Moab, Utah. I began listening to a lot of good acoustic music which inspired me to reinvest my energy into playing again. I purchased a cheap mandolin and started learning to play. I'm still a pretty bad musician but I enjoy playing in jams whenever I get the chance. I also have a bluegrass radio show that keeps me in touch with acoustic music both new and old.

JM: How did you get the idea that you could build instruments?

CB: I believe the idea first struck me when I came across a fiddle making book in a bookstore. There was an instant realization that I had a profound interest in music but that my talents lay in artistic woodworking and that instrument building was the most suitable line of work for both my desire and talent. From that point on I've been totally obsessed with building mandolins; I think you have to be if it is going to work.

JM: What was the first instrument that you built and what was the first one you sold?

CB: I'll say that there is a first instrument, but I do my best to pretend it doesn't exist. I've sold all other mandolins I've built with the exception of #3 which I play.

JM: How did you decide on "Arches" for your brand name?

CB: I live about 2 miles from Arches National Park in Moab, Utah; it is an amazing place. The land around it is very sacred to me. I've heard "Arches" used in other business contexts and it seemed to have a kind of timeless aesthetic. I also plan to have some employees and didn't feel right about having them build mandolins and then put my name on them.

JM: How have you promoted your work?

CB: Other than being an active member in the mandolin community I haven't promoted my work. My customers seem to cover that base for me. I don't like trying to sell anything.

JM: What instruments do you offer for sale?

CB: My mainstay has been A-style archtops with F-holes, I also offer flat top (induced arch) mandolins and octave mandolins. I recently completed an F-style with an oval hole and will soon have an F-style with F-holes. I'm also having conversations with professional musicians about some new designs, who knows where that will lead?

JM: How is the mandolin market and are you selling everything you build? Do you have a waiting list?

CB: My waiting list is about 1 ½ years. So, yes, I'm selling everything and from my point of view, the mandolin market is strong. I hope to get my production up in the future, especially the flat tops. I'd like to hire a few more employees and get more flat tops made for folks who want a good mandolin but can't afford more than $1K.

JM: Do you have plans to expand your current line?

CB: I plan on expanding the line, largely in the traditional direction. I also have plans to come up with my own mandolin designs but wish to master the traditional designs first. I'm a big jazz fan and think that mandolins are well suited to that genre; I'd like to get into that market.

JM: Do you make all of the wooden parts?

CB: I usually buy my bridges and endpins. Everything else I make.

JM: What woods and other materials do you use?

CB: I use many woods, more than I can list in this context. For a start, one can take a look at the materials page on my website. There are many good tonewoods out there that are rarely used.

JM: Do you accept custom orders?

CB: Yes, most of my instruments are built to suit a particular customer. I have no standard model, they're all custom.

JM: Could you give us a basic overview of your building process?

CB: It is always changing, sometimes dramatically, but certain principles remain the same. The first thing I do is come up with a very clear mental picture of the tone I want. I am always thinking of that tone during every step and try to figure out how to instill that tone into the parts as I build. I think the major advantage a small builder has is the ability to continually give time and attention to the acoustic capabilities of the instrument. This relates to the instrument's general "personality". I try to maintain this principle but the actual build process is always evolving. I have very specific qualifications for the end product but I am very open to new and more efficient ways of attaining that end product.

JM: What type of finish are you using and why have you chosen that particular finish?

CB: I use oil varnish and shellac (spirit varnish), it feels right to me. I've done enough varnish finishes that it really isn't much more difficult that lacquer. I hate lacquer; it is antithetical to my concept of what the mandolins would "want" to be covered with. I've had some promising experiments with a water based polymer but haven't really put it into production yet. The building process is very organic and artistic and I want to carry that over in the finishing stage. A good varnish finish will show signs of human activity but they will be the heart warming kind.

JM: Is there anything you'd like to add?

CB: Thanks for the opportunity to converse about one of my favorite subjects! I've enjoyed it. Also, thanks to my customers for taking over the marketing division and giving encouragement.

JM: I own an Arches flat top, it is a sweet sounding mandolin, rich and full with good sustain. It also has a pretty good sounding bluegrass chop, something I would not have expected from a flattop. The fit & finish are excellent, and it plays very comfortably. If you have the opportunity to play an Arches mandolin be sure to try it out.

Chris can be reached through his website: www.archesmusic.com, or by phone at 435-259-8043.