Fine handcrafted instruments for serious guitarists.

Guitars About Order & Contact Information
Home Galleries Models Body Styles Recordings In Stock   Gerald Learn! News Press The Shop   Prices and Options Contact       
 

 

 

 

 

 

Views From The Shop

 


Photo by: Jeff Sturgill

 

Instruments in the making.

The non-aesthetic qualities of craftsmanship are just as
 important to quality as what you see on the outside. Many
folks miss the beauty inside a fine handmade guitar.
The care taken when an instrument is assembled not only
reflects the dedication of the builder, but it impacts the
 integrity and tone of the instrument.



Above: Spine label for Brazilian Rosewood/European
Spruce Madrigal Grand Auditorium. 

 



The finish has been applied to this Brazilian Rosewood Ave Maria Grand Auditorium.
The next step is to fine sand the finish and buff it to a beautiful luster. The complete
finishing process, which includes initial filling of the pores, spraying, curing,
sanding, and buffing takes about a month to accomplish. 

 

 

---------
Shop Visits

My shop is always open, by appointment, to persons who are seriously interested in purchasing a custom instrument.
It's a lot of fun to discuss needs and pick out woods!

--

Have ever asked yourself what a true "custom guitar" is?

Well, a true custom guitar has "tailor made" features that are required or preferred by the 
client. As a lifetime guitar player who has worked and played with some of the finest professional
and amateur players, I can empathize with your special needs, and having build instrument since 1993, I can
 design guitars to need those needs. Please note that my instruments are not "cookie-cut"
with CNC machines, and merely assembled, but rather, they are made with a pain-staking, 
hands and heart labor of love!

 

 

 

Click on photos to enlarge.

Hand beveling the edge of  headstock. 

Left/Right: Adirondack Spruce
Top Bracing
Tree of Life by Tom Ellis

Left: Body mold.

Right: Side bending machine.

    

Brazilian Rosewood, Ziricote in foreground.

Left: African Blackwood rosette

Right: Brazilian Rosewood back and rim.

    


Gluing Side Support Staves

 

Planing top purfling.

Left: Planing purfling flush with surface of top.

Right: By always using the full size plan to mark
 the placement of bracing we ensure accuracy
 and consistency of tone.

Top bracing Pattern.

Frets are pressed in with an arbor press.
 This provides a perfectly radiused fret 
installation.

Pressing frets.
Claro Walnut interior of a Grand Auditorium.

Left: Final inspection before top is glued into place.

Right: Drill press and jig ensures
 accuracy of holes for side 
dot appointments.

Drilling holes for fingerboard position dots.
Red Spruce Bracing on Brazilian Rosewood.

Bracing on Brazilian Rosewood
Grand Auditorium back.

Unfinished African Rosewood Cutaway.

Left: Final preps on Bubinga Grand
Concert before spraying.

Right: Gluing soundhole reinforcements.

 

Gluing soundhole support braces.

Cutaway section fresh out of the bender.

Left: Mold for bending
Florentine cutaway.

Right: Solid cherry support triangle
 for tip of Florentine cutaway.

Cutway section of guitar rim with lining.

 

Left: Installing bridge.

Tape holds purfling tight against body until glue dries.

Left: Gluing purfling and binding.

Right: Installing pearl perimeter purfling.

 

Guitar rim in mold.

Left: Grand Concert body in mold.

Right: Fitting top to sides.

View inside of body.

Right: Mahogany neck about to be fitted with tuners.
Guitars About Order & Contact Information
Home Galleries Models Body Styles Recordings In Stock   Gerald Learn! News Press The Shop   Prices and Options Contact