{"id":141145,"date":"2023-07-30T06:00:00","date_gmt":"2023-07-30T13:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=141145"},"modified":"2023-07-31T10:42:41","modified_gmt":"2023-07-31T17:42:41","slug":"a-guide-to-commissioning-the-custom-guitar-of-your-dreams","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/a-guide-to-commissioning-the-custom-guitar-of-your-dreams\/","title":{"rendered":"A Guide to Commissioning the Custom Guitar of Your Dreams"},"content":{"rendered":"\n
\"huss<\/figure>\n\n\n\n

While there are countless new guitars to choose from in nearly every size, shape, and wood combination across a wide range of price points, some players need a special instrument. Perhaps you\u2019re seeking a reproduction of a rare vintage model, a guitar with specs tweaked to your personal needs, or maybe a brand-new creation that no one else has ever seen. If so, commissioning a custom build can be a uniquely thrilling experience.<\/p>\n\n\n\n

Even for those who already have a quiver of fine guitars, collaborating with a luthier can result in an instrument that satisfies performance needs, creative desires, or both. For some players and collectors, the process is almost a hobby in itself, with repeat customers cycling through a builder\u2019s waitlist and returning for a new instrument every few years.<\/p>\n\n\n\n

\"The
The Music Emporium\u2019s Andy Cambria with the proud owner of a new custom Santa Cruz guitar<\/em><\/figcaption><\/figure>\n\n\n\n

From factory custom shops that churn out special orders on a large scale to one-person operations, you can get a one-of-a-kind instrument made just for you and often have a courtside seat during the process. <\/p>\n\n\n\n

As exciting as it can be, even experienced guitar buyers might feel intimidated or overwhelmed by the ordering process and have many questions. What do I want? Will it sound as good as I hope? What happens if I don\u2019t love the finished product? Of course, those are all genuine concerns for anyone diving into the unknown, so I set out to learn more about the ins and outs of commissioning a custom instrument and what you can do to make sure that you end up with the guitar of your dreams.<\/p>\n\n\n\n

Many custom orders are variations on classic models. These guitars might have a set of eye-catching, exotic tonewoods and added decoration, or simply a neck profile that fits your hands better than the standard model. <\/p>\n\n\n\n

Another compelling reason to commission a custom instrument is to replicate a prized vintage model that\u2019s too expensive, scarce, or unreliable to travel with. \u201cA lot of those vintage guitars are cost prohibitive and aren\u2019t something you\u2019d want to take on the road with you,\u201d says Todd Albright, who plays prewar blues and ragtime on a modern replica of an early baritone 12-string. \u201cIt makes a lot more sense to get a new guitar that is an exact copy of a guitar made in the \u201930s, which can sound, look, and feel the same as an old guitar, but without the vintage guitar problems.\u201d Albright swears by his custom Fraulini Paul Geremia Signature, based on an extremely rare Regal-made Tonk Brothers 12-string, with birch back and sides and a paper-thin, lightly braced spruce top, for a tone that he calls \u201ctrashy-sounding and unrefined, which is exactly what I\u2019m looking for.\u201d  <\/em><\/p>\n\n\n\n

Many of the large- and medium-size guitar makers\u2014Martin<\/a> and Taylor<\/a>, along with boutique brands like Bourgeois<\/a>, Collings<\/a>, Huss and Dalton<\/a>, Preston Thompson<\/a>, Santa Cruz<\/a>, and others\u2014offer custom versions of their standard models through their dealer networks. In these cases, an outside sales representative serves as a consultant who acts as a sounding board for your ideas and helps you sort through the laundry list of wood choices, decoration, and much more to be selected for the build. This makes the shop a buffer between customers and a maker\u2019s busy production floor. Kimberly Dalton, the general manager of Huss and Dalton, says, \u201cIt\u2019s time-consuming working on a custom build, and this allows us to build and the dealer to handle the customer. Ultimately, that\u2019s what that dealer is there for.\u201d<\/p>\n\n\n\n

\"Jayne
Jayne Henderson, EJ Henderson Guitars and Ukuleles. Photo: Nicholas Gilbert<\/em><\/figcaption><\/figure>\n\n\n\n

Though this pathway generally provides less of a one-on-one relationship with the person building your guitar, it can be beneficial to have a well-known name on the headstock if you plan on reselling at some point or would like a more predictable outcome. <\/p>\n\n\n\n

Some makers also offer customers the chance to hand-select the details that go into their unique guitar. \u201cIf somebody wants to come to the shop and actually select their woods and talk about their custom build, we can do that,\u201d Dalton says. \u201cWe also look at bindings and whatever else they\u2019re interested in, including duplicating specific neck profiles.\u201d<\/p>\n\n\n\n

As one of Martin\u2019s Custom Shop Expert dealers, the Music Emporium<\/a> in Lexington, Massachusetts, is on the frontline of the legacy maker\u2019s large workshop. The Music Emporium\u2019s acoustic and vintage specialist, Andy Cambria, helps customers with custom orders for Collings, Fairbanks, Santa Cruz, and others. When I ask Cambria what happens when someone inquires about a custom build, he has a surprising response. \u201cTo be honest, more often than not, I try to talk them out of it,\u201d he says. \u201cCustom ordering a guitar is only a good idea if you have a very specific request about dimensions or the neck\u2019s playability or if you\u2019re going for a super-specific visual look.\u201d<\/p>\n\n\n\n

Players may have other motivations for commissioning an instrument, he adds. \u201cIf somebody just read about Bill Collings or Richard Hoover and was like, \u2018I just love this person and their whole ethos and theory about instrument building. I want to own one of their guitars\u2019\u2014that\u2019s as good a reason as any to custom order a guitar.\u201d <\/p>\n\n\n\n

\"Brian
Brian Dickel (left), with Kimberly and Mark Dalton of Huss and Dalton Guitars. Photo: Tom Daly<\/em><\/figcaption><\/figure>\n\n\n\n

Ironically, Cambria says the sound is frequently the last consideration when somebody custom orders a guitar. \u201cIf you\u2019re going after sound, it\u2019s always better to find something that exists, even if you have to hunt for a year, which is how long it will take you to get the custom guitar,\u201d he advises.<\/p>\n\n\n\n

If you\u2019re in search of a maker who is pushing the boundaries of what a guitar can be, who specializes in designs that\u2019ve been otherwise been lost to time, or whose unique take simply catches your fancy, choosing an individual luthier may be the ultimate choice for a unique guitar and buying experience. It\u2019s a process that can involve a lot of direct contact and collaboration on the design with the person whose hands will build your guitar. <\/p>\n\n\n\n

The allure of being involved in a build is compelling, and working directly with a luthier on a plan for a guitar can be exciting and even addicting\u2014from visiting the builder\u2019s shop and picking out woods to dreaming up the next guitar. <\/p>\n\n\n\n

Several makers report that many of their clients are repeat customers. Pepe Romero Jr.,<\/a> a luthier who makes classical guitars and ukuleles and is also a member of the esteemed Romero family of guitarists, has a three- to four-year waitlist for one of his handmade classical guitars, and about 30 percent of his customers return for another guitar. \u201cThey love knowing one is coming,\u201d he says. \u201cThey love the process, and during my two-month build process, they love knowing that I\u2019m working for them.\u201d<\/p>\n\n\n\n

Playing an instrument from a luthier before ordering can be difficult because these one-person shops have low production outputs\u2014often in the low double digits per year\u2014and multi-year wait times, and they sell all that they can build. While you might not be able to easily find some of these guitars outside of the internet, there are still a few opportunities to get a good sense of what they are all about.<\/p>\n\n\n\n

A few shops, like Dream Guitars<\/a> in Weaverville, North Carolina, and the Golden Era Guitar<\/a> in Singapore, specialize in representing luthiers. There are also annual boutique showcases like the Artisan Guitar Show, La Conner Guitar Festival, and Woodstock Invitational Luthier\u2019s Showcase, which give players a chance to check out guitar makers\u2019 work up close in person, start a dialogue for a commission, or maybe even bring home a custom instrument. <\/p>\n\n\n\n

The key when working with a guitar maker on a commission is the same as it is in any relationship\u2014good communication. For the greatest chance of successfully conveying what you need, extensive field research is essential before you settle on a build. And that means playing as many guitars as you can. With long wait times for many builders, it\u2019s never too early to start playing every guitar and sorting through your likes and dislikes.<\/p>\n\n\n\n

\"Todd
Todd Cambio of Fraulini Guitars<\/em><\/figcaption><\/figure>\n\n\n\n

Cultivating a relationship with a dealer is an excellent way to explore your options. This part of the process is obviously easier for people living near areas with one or more guitar shops that carry high-end and boutique guitars, but it\u2019s still possible to educate yourself on your preferences wherever you are. \u201cSpend a couple years, at least, playing everything that you can get your hands on,\u201d says Cambria. \u201cEven the boring-looking ones, because you might find one of those that really lights a fire in terms of the sound it produces.\u201d<\/p>\n\n\n\n

Cambria suggests that if you live near a shop, try to develop a relationship with somebody that works there. \u201cYour lead-in can be very honest,\u201d he says. \u201cJust say, \u2018I\u2019m not going to buy anything today, but I\u2019m starting a process. I want to get it through you guys. Would you mind showing me the way? And would you mind letting me play these things knowing that I\u2019m going to be doing business through you?\u2019\u201d<\/p>\n\n\n\n

Since many custom builders have waiting lists of a few years, use this time to zero in on your preferences for body and neck shapes, wood choices, and other features. For sound and playability, a few makers commented that the most important thing to focus on is the top wood and bracing. \u201cIt\u2019s probably the most neglected part of the custom order process, because everybody is obsessed with the exotic look of the back and sides,\u201d says Cambria. Though these can be gorgeous and attractive parts of a guitar, many makers feel that other features, such as a thin finish, use of hide glue, and especially the shape and thickness of the neck, rank higher in importance for tone and feel. <\/p>\n\n\n\n

When you are working directly with a luthier on a design, the conversations often veer into your style and needs. \u201cIt\u2019s always helpful to know your playing style and to have an open mind about what might work best for it,\u201d says Jayne Henderson, owner of EJ Henderson Guitars and Ukuleles<\/a> and daughter of famed luthier Wayne Henderson.<\/p>\n\n\n\n

Todd Cambio, the luthier behind Fraulini Guitars<\/a>, notes that the way you play factors into the critical details of your guitar. \u201cIf you\u2019re going to sit on the couch and play in open tunings, and you like a lot of resonance and overtones, you might want a shorter scale,\u201d he says. \u201cBut if you use a flatpick and play really fast jazz or bluegrass, you want a longer scale for more string tension and a quicker note decay.\u201d Romero, Cambio, and Henderson said these in-depth talks with customers can help define what the player is looking for based on their playing style, musical tastes, and techniques. <\/p>\n\n\n\n

Depending on the size of the guitar maker\u2019s operations, the ordering process can vary. Going through a maker\u2019s dealer network often involves a contract and a deposit, often 25 percent. The order is sent to the maker, and a guitar returns to the shop in as few as several months to more than a year. The completed guitar usually goes to the guitar shop that ordered it\u2014the dealer might like to show off the guitar on its website and social media before passing it along to the customer\u2014but sometimes the maker will drop-ship directly to the customer. <\/p>\n\n\n\n

As you might expect with a smaller builder, the process can be more direct and hands-on. Since several years can often pass from when a customer gets on a waitlist to when the guitar is completed, many luthiers prefer to wait until their client\u2019s number is up to commit to the build, collect the deposit, and begin the design. That window not only helps manage the workflow for a busy small shop but takes into account that some customers may have to drop out of line due to unforeseen financial or other circumstances. <\/p>\n\n\n\n

\"Pepe
Pepe Romero Jr.<\/em><\/figcaption><\/figure>\n\n\n\n

Once the build is finally underway, some makers like to share shop images on their social media channels or through email. While the workflow complexity of larger workshops, like Martin\u2019s Custom Shop, means they can\u2019t document each guitar\u2019s build, small shops may provide regular updates as the instrument takes shape. \u201cI post my work every day,\u201d says Romero. \u201cPeople get to follow the process visually and see pictures of things coming along. It\u2019s much more exciting for them than to find something completed.\u201d Sharing pictures can also help the maker make important changes before it\u2019s too late. <\/p>\n\n\n\n

For the past few years, Henderson has used Facebook Live on Saturdays to invite people into her shop while she works on some aspect of building. \u201cI plan it so I have a quiet thing to do, like putting on binding or messing with the small things,\u201d she says. These broadcasts are more than just showing off shop techniques. \u201cI love it when they ask questions, and there have been several times where a client is watching and they get to be part of it. I like that\u2014it\u2019s a nice connection.\u201d<\/p>\n\n\n\n

Ultimately, the relationships between guitar makers and their clients are meaningful for both parties. \u201cI really enjoy working with people and figuring it out,\u201d says Cambio. \u201cI enjoy getting to know my customers and working with them on getting the right instrument, because people are putting their faith in me.\u201d<\/p>\n\n\n\n

That sense of trust and helping to make someone\u2019s dream instrument come to life also helps carry Henderson through the long and lonely days at the shop. \u201cI love the partnership and getting to know people,\u201c she says. \u201cI love that I get to be a catalyst to bring someone some happiness.\u201d<\/p>\n\n\n\n

What If You Just Don\u2019t Like It?<\/h3>\n\n\n\n

While you\u2019ve waited for your dream guitar, made to your exacting tastes, you\u2019ve no doubt fantasized about its sound and feel. Often it\u2019s just as hoped for, but what happens if it finally arrives and you don\u2019t feel a connection with it? Are you stuck with an expensive instrument that you don\u2019t like? How it resolves mostly depends on the individual builder\u2019s or shop\u2019s policies.<\/p>\n\n\n\n

Typically, once you receive a custom build from a medium or large guitar company, it\u2019s yours. They made it to your specifications and fulfilled their end of the bargain, so there are no returns or refunds. What happens next may be between the buyer and the dealer who managed the guitar order. Having satisfied customers is essential to these independent dealers, so the shop might end up falling on the sword when a custom order doesn\u2019t work out for the player. \u201cNo matter what was said or signed before the whole process started, we don\u2019t stick people with instruments that don\u2019t work for them,\u201d says the Music Emporium\u2019s Andy Cambria. Often, the store can move the custom guitar to a new owner, while the customer can apply a credit to another instrument in the store.<\/p>\n\n\n\n

The small builders who deal directly with clients also want happy customers. While they do not typically offer refunds, they usually have more flexibility to provide the customer a few options. In most cases, the luthiers I spoke with say it\u2019s only happened two or three times out of hundreds of instruments, so it\u2019s a rare event. <\/p>\n\n\n\n

\u201cI tell people there\u2019s no stress with having to buy this guitar,\u201d says Jayne Henderson. \u201cIf you don\u2019t like it, I\u2019ll resell it. I\u2019m not scared about that because I know the guitar will go to who it\u2019s supposed go to and you\u2019ll find the one you want.\u201d  <\/p>\n\n\n\n

\n\"Acoustic<\/a>\n

This article originally appeared in the September\/October 2023<\/a> issue of Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Collaborating with a luthier can result in an instrument that satisfies performance needs, creative desires, or both.<\/p>\n","protected":false},"author":12,"featured_media":141147,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"Collaborating with a luthier can result in an instrument that satisfies performance needs, creative desires, or both.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1669],"tags":[1922],"ppma_author":[1556],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/07\/HussDalton_18Aug2022_ByTomDaly-100-crop.jpg?fit=750%2C500&ssl=1","authors":[{"term_id":1556,"user_id":12,"is_guest":0,"slug":"greg-olwellstringletter-com","display_name":"Greg Olwell","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/5e8dada80c5c5ebffe48b5a4cfd35f33?s=96&d=mm&r=g","user_url":"","last_name":"Olwell","first_name":"Greg","description":"Greg Olwell is Acoustic Guitar<\/i>'s editor-at-large. He plays upright bass in several bands in the San Francisco Bay Area and also enjoys playing ukulele and guitar."}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/141145"}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=141145"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/141145\/revisions"}],"predecessor-version":[{"id":141464,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/141145\/revisions\/141464"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/141147"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=141145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=141145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=141145"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=141145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}