Scott is, by definition, a corporate luthier and has been since 1977. At the same time he has his roots firmly seated in the philosophy and craftsmanship involved with the construction and restoration of fine musical instruments

Scott with restored mandolin

Scott explains: “My career started quite by chance in 1975. I went to McCabes Guitar Shop in Santa Monica, Southern California, to seek advice on a mandolin repair. The head repairman explained that he was going to do a trial run of a class in Instrument Repair and suggested that I join.” Well, Scott attended the 10-week course then two more 10-week sessions over a 2 year period. “I cannot say enough good things about McCabes and the former head repairman, Larry Brown. Working with them changed the course of my life. “Not only was I taught valid techniques but I was exposed to the craftsman’s attitude.”

In 1977 those classes, combined with his own work, helped Scott gain employment at CBS Fender Musical Instruments. “I remained at Fender until 1984,” continued Scott. “During that time I worked in the woodshop for three years leading a small group, building Jazz Bass and Jazzmaster necks. “Starting in 1980 I was promoted to the R&D Department. “From 1980 to l984 I was the only custom/prototype builder at the Fender Factory, building instruments for many of the world’s leading musicians playing Fender products. “But to me, the most satisfying achievement was the Vintage Reissue Project.” Scott was the builder that brought all of Fender’s research into its own past back to life, under the direction of Dan Smith and John Page. “That project included the 1952 Telecaster, 1957 and l962 Stratocaster, 1957 and 1962 P-Bass and 1962 Jazz Bass. “Those samples were used for catalogue purposes as well as for NAMM show display.”

Scott’s career continued to surge ahead: “In late 1984 I went to work for Charvel/Jackson Guitars at a position that can best be labelled as a Factory-Overseer cum Trouble-Shooter.” said Scott. “My primary concern was to work out various kinks’ in factory production, while not sacrificing any of the legendary quality of the guitars. “During this time I also did much of the warranty repair.”

Desert Rose custom detail

In early 1986 production of the Charvel Brand Products was transferred to Japan. As Scott puts it - “Being the only unmarried qualified person, I was sent to Japan to oversee the start-up of production and to ensure quality of the instruments. I stayed with this job for four years, at one time working with, and watching over, three Japanese factories producing Charvel guitars.”

In May of 1990 Scott at last got the chance to return to his first love - building guitars. “I began working at one of Japan’s premier musical instrument factory’s. To my surprise this was the same factory that built the well known Ibanez mandolins and banjos in the ’70’s and ’80’s. “My first mandolin actually came from this factory, and I was able to meet the old gentleman who made that mandolin! “With this new job, I was able to expand my abilities and knowledge to include techniques involving building the Ibanez, Epiphone, Casio, Fernandez and numerous other brands sold only in Asia.” But there were restrictions: “At this time, because of Japanese business style, they agree to let me practice my craft on a personal level outside the factory as long as I don’t use their name in connection with my private building work.” Scott Zimmerman’s job is primarily in the Engineering Department, “where I build samples - one-of-a-kind custom and artist guitars - for numerous major brands. “Needless to say, though, my speciality is Fender.” Examples of this work were a couple of left-handed Fender Mustangs for Kurt Kobain of Nirvana.

While the vast majority of instruments Scott has built over the years have been solid body or semi-hollow electric guitars or basses, his instruments of choice were banjos and acoustic guitars. His interest in acoustic work continued to increase: “I spent ever more time designing and producing quality banjos and guitars. In 1993 I bit the bullet and started my own enterprise Desert Rose Instruments, which is still going strong, producing mainly high specification banjos.” He has found a real ‘niche’ in which to practice his craft. As he says: “I have very little competition building high-end bluegrass banjos in Japan. And it is something I really look forward to - returning home after an eight hour day of ‘mass production mania’ at the factory and concentrating on doing nothing but the best work I can, on something I really enjoy.”

And living in Japan for an American? “Needless to say, the last 13 years living and working in Japan have been very interesting, to say the least! It has exposed me to techniques, ideas and philosophies related to luthiery that I would never have experienced had I stayed in the USA!” And the single guy they sent out to Japan? “ I did get married - in 1988, to a Japanese girl! “She is the reason I have stayed in Japan of course, and she is a big part of making my Desert Rose venture work!”

Scott welcomes enquiries and other contacts. He can be contacted at:

Scott Zimmerman 1-3-7 Shonaicho Matsumoto, Nagano 390-0828 Japan.
Write to Scott

1st May 1999