Why Guild? The first guitar I ever purchased was a 1976 Guild F-50R NT Rosewood/Spruce jumbo 6 string. Next was a 1976 Guild F-512 Rosewood/Spruce jumbo 12 string. When I began performing, many/most of my contemporaries played Guild acoustics. I have a special appreciation for the unique sound of these instruments. As I aged, so did the guitars. One by one, they all needed rejuvenation beyond minor repair, to varying degrees. I have completely rebuilt many Guilds over the years. Here is a sampling of some of these rebuilds, overhauls, and makeovers:
It started with a broken truss rod. Then there was the loose neck joint. Then the back plate seam separation. Then the bellying behind the bridge...
Having suffered a severe neck block shift and soundboard shear on both sides of the fingerboard extension, this guitar needed emergency surgery...
Inspired by the need for a neck reset, I took the opportunity to re-build this Guild. All that remains of the original are the Mahogany back and sides...
The owner of this 12 string chose to have his guitar re-imagined with a new soundboard, tasteful inlay, a special finish and more. Wow!
What should have been a simple bridge repair ended up being a complete remake of a Mahogany archback dreadnaught Guild 12 string...
By the winter of 2014, my venerable 1980 Guild F-412 12 string was in need of a neck reset. The time had come to put things right...
My favorite 12 string needed a neck reset, new soundboard, new binding, frets, tuners, pickup and a complete refinish. Just the essentials...
Assorted articles on some controversial topics, such as the Infamous Guild Neck Reset, how to completely replace a Truss Rod using an alternative Carbon Fiber D-Tube, why neck blocks shift and soundboards shear, and more...
A deep dive into the topic of Guild neck resets, using my own 1976 F-212 XL as an example. Dedicated to Guild owners everywhere...
Pretty much everything you ever wanted to know about truss rods, and how to replace them entirely using the carbon fiber D-Tube Neck Beam by Dragonplate...
Neck blocks shouldn't shift and soundboards shouldn't shear. I believe this occurs as a result of an intrinsic design flaw. Let's dig in...
Tuning a guitar string requires a small machine, a mechanical device that can generate the force necessary to bring the string to pitch, as well as maintain it...
How I re-fretted my 1999 Rainsong WS1000 carbon fiber guitar, including how to remove the old jumbo frets, re-radius the carbon fiber fretboard, and install new, thinner frets.
All within about a 6-month period, three men in particular had such a profound impact on my instrument building career, that I must include them in my writings.
During Christmastime of 2012 I was able to spend some invaluable time with master luthier John Greven in his shop, in his home in Oregon.
Thanks to a Let’s Talk Guild meet-up in Nashville, Tennessee in April 2013, I was privileged to spend a Saturday with George Gruhn.
Spending a week with master luthier Kent Carlos Everett was a career-altering event, as it took my guitar building to a whole new level.
There are many perfectly capable pickup solutions for the acoustic guitar these days, from under saddle transducers to soundboard transducers to magnetic soundhole pickups to onboard microphones, and combinations of all the above. I like most all of the offerings for one reason or another. Everyone has their favorites, so here are mine.
The Amulet M-VT Phantom is a phantom powered, bridgeplate-mounted, multi-transducer, low impedance (low noise), feedback resistant pickup.
This pickup from James May Engineering is a passive, brideplate-mounted, soundboard transducer (SBT) pickup with on-board feedback suppression.
The Soloist from Barbera Transducer Systems is a passive saddle transducer, that is to say, the saddle is the pickup! Feedback is near non-existent...
What do you get when you combine an active magnetic soundhole pickup already "voiced" after a condenser mic with a condenser mic, along with an onboard preamp?
There are many projects that consume time and space in my shop. Some of these play supporting roles in my guitar construction, such as building cabinets, or jigs and fixtures. Others have nothing whatsoever to do with lutherie. I have included a sampling of those projects, here.
How I make a custom acoustic guitar body mold, a wooden form that holds the precise shape of the guitar body during construction.
My pegboard rack is housed in a sturdy shadow box frame made with hand-cut dovetails, and uses magnets and plastic accessories.
A completely non-instrument-related topic: This is how I made my kitchen table made from 100+ year-old Southern Pine floor joists.
I replaced an LR Baggs Onboard Element with an LR Baggs Anthem Stage Pro. The existing opening left in the guitar from the Element was too large. What could I do?
I have included some of my thoughts on broader topics related to lutherie.
The right wood, worked the right way by the right person becomes more than simply the sum of the parts.
I have owned many handcrafted and factory-built guitars. I build guitars mostly by hand. Here are some thoughts on the topic.