What led you to commission a custom guitar?

[islandguitar]

Compared to others here....I've only scratched the surface with one single luthier custom build!
For all my 50+ years with guitars however, one thing has, for me, carried the day. I will invest in quality guitars beyond a most anything else I purchase....cars, appliances, etc. etc. Just always been that way!
So, while I had only dreamed about this kind of adventure, it didn't become real until one day my wife and I had a "what's on your bucket list" conversation. I shared that dream.....she said go for it!
I just happened to have a researched that very thing......(surprised?) and went with my first choice guy.....very well known luthier. There were others that I felt were just out of reach price wise, but I was super pleased with my choice. Started the build after 9 months.......he got into it.....and after completing first steps (rosette, join of top and back plates)......went out of business!!! Crap!! He made good and returned my deposit several months later and was sorry to have not come through for me. So, that's a lesson in making as sure as possible something like that doesn't happen. It can.

At that same moment, my original first choice builder, Tom Doerr, introduced a "standard" model which made it possible to jump right into his que for a build that started about 9 months later. This was a wonderful experience and of course Doerr guitars are extremely well known here on AGF and across the world. Through additions and upgrades, this guitar became a "select" model and I couldn't be happier. To this day, it's my "go to" guitar on so much of my playing. I had sent Tom a bunch of my tunes and he had a good idea of where to take this build. Totally collaborative as Tom led the way!
A couple of other thoughts to add into what others have already mentioned, from my limited experience:
-Be ready to answer the question, "what are you looking for"....or similar inquiry. As we know, this is tone, tone wood, size, scale, appointments.....a whole bunch of stuff, but it's interesting when the moment comes and you need to actually verbalize this with your builder!

-Keep in mind that you can "save" for this type of guitar because in most cases you'll pay a deposit, possibly a second payment when the guitar is started, and a final payment when it's finished. This can help with the prospects of having to pay for the whole instrument up front by spreading things out.

-The process is a tremendous learning experience......and that's part of the fun and why I wanted to do it.
- I love luthier built guitars and even when I've purchased ones that have been pre-owned and not built for me, I've made contact with them to ask questions and introduce myself as one who now owns one of their creations. To a one, they have been professional, gracious and welcoming to this kind of connection. Tremendous integrity!
Hope this helps in adding in to your thoughts on this......best of luck!
Fred

[jklotz]

Thanks guys, I appreciate all the well thought out responses.

[J-F C]

Originally Posted by The Bard Rocks

I like the idea of having something that no one else has, something made to suit my own wants and desires. And the build process is addictive, a lot of fun. I enjoy being involved from afar.

Same for me as far as the reason I decided to commission a build.

The choosing a luthier was made by attending a guitar show that made it possible to play a lot of guitars and chat with the builders. I played some guitars that left a lasting impression and 2 years after I made the move and called the builder. No leap of faith. Great fun. Third guitar build scheduled to begin soon.🙂

[joeld]

I'm still waiting for the final product, but this was the idea: I had in mind a particular set of features that I haven't seen all together in a single instrument:

16" lower bout, but more curvy than a dread
12 or 13 frets to the body
cutaway
multiscale with fairly long 6th string for lowered tunings
sound hole for teh sound from teh hole
nonstandard woods, something besides EIR & Sitka
1.75" nut
Soft V neck
Slightly taller EVO frets
Thin finish

And I wanted some input in the 'tone', chimey highs and deep but tight bass, lots of vibrance rather than pure fundamental, sustain, built for finger picking rather than strumming with a plectrum. Calling a Luthier gave me the opportunity to ask for this particular feature set. I actually came across a Lowden once that was pretty much this, but it was $$$ and someone else bought it before I had the nerve to lay my money down. We'll see how it works out, but obviously I have high hopes!

Oh, as to selecting a luthier, I contacted several that I heard about here, and found one that liked the project and was in my price range and had reasonable delivery time. I did not have the opportunity to try any luthier builds beforehand. I have found though that I find worthwhile characteristics in guitars from small shops like Santa Cruz, Goodall, Lowden, and I guess Martin custom shop. /jd

ps. Reading ahead in the thread after I posted this, I'll say that my #1 is a Santa Cruz. Although as I mentioned, I haven't played single-luthier builds, I'd be surprised if they could exceed it by any dramatic amount in terms of richness of tone & musicality. If you don't have an exotic feature set in mind, run the racks and you're likely to find something really great!

[jklotz]

Originally Posted by tadol

From your initial post, it sounds like you know what you want in a guitar, but can't find a model that meets your ergonomic desires. That would be a great place to start - know what guitar really floats your boat, but doesn't have the specs you really want, and talk to that shop to see if one could get built with those specs. I know Martin has some custom options, and small shops like Santa Cruz do a very wide range of custom specs on almost any of their models. That can frequently get you an outstanding guitar that you already know, physically modified to meet your needs, at a reasonable price.

This is something I find interesting, thanks for posting tadol! I've ruled out Martin for various reasons, although I certainly have nothing against Martin. Heck, most of my favorite records were recorded on a Martin, but they don't make what I'm looking for.

Santa Cruz, Collings, etc make wonderful guitars. And they very well could possibly build my dream guitar, but at the price I'd have to pay, I'm already looking at the cost of a lot of the solo builders would charge, or very close to it, and the wait time, I'm guessing, would be similar.

It's a bit of a delima really. If it didn't work out, I'm guessing having Santa Cruz, etc, on the headstock would make resale easier. And there is still an element of a "factory" built guitar, albeit a small factory, but I doubt Richard Hoover would have even touched it during the build process. OTOH, going with a solo builder, at least the one's I could afford, really limits the buying audience if it didn't turn out as I hoped, but I get to talk to one guy about exactly what I want and have it, hopefully, built accordingly.

Again, thanks guys, and all of your comments and shared experiences are helpful.

[warfrat73]

A big part of it for me is not so much the customization, but the craftsmanship of a single artisan doing their thing, rather than a factory doing its thing. There's some romance about it. It seems to me something worth supporting... provided that the quality is there.

And, honestly, I'm really enjoying having something to look forward too. It's been a while.

[jklotz]

Originally Posted by joeld

I'm still waiting for the final product, but this was the idea: I had in mind a particular set of features that I haven't seen all together in a single instrument:

16" lower bout, but more curvy than a dread
12 or 13 frets to the body
cutaway
multiscale with fairly long 6th string for lowered tunings
sound hole for teh sound from teh hole
nonstandard woods, something besides EIR & Sitka
1.75" nut
Soft V neck
Slightly taller EVO frets
Thin finish

And I wanted some input in the 'tone', chimey highs and deep but tight bass, lots of vibrance rather than pure fundamental, sustain, built for finger picking rather than strumming with a plectrum. Calling a Luthier gave me the opportunity to ask for this particular feature set. I actually came across a Lowden once that was pretty much this, but it was $$$ and someone else bought it before I had the nerve to lay my money down. We'll see how it works out, but obviously I have high hopes! /jd

Interesting. I think your description is similar to the one I'd give somebody building me a guitar. I have a 99' Lowden 025c that I really like the tone of. It's just that neck. Urgggh! That thin, flat in the back D shape combined with the almost flat fingerboard radius. It's almost like if I could have that very guitar and put a fuller neck with a slight V with a tad more radius on the fretboard, I'd be there.

Your post is more helpful than you may realize. I guess I need to start compiling a laundry list of what I'm after.

[Norsepicker]

I had an extraordinary amount of luck. I wanted a classical guitar for my 60th birthday and I commissioned one from John McKenna. There was a cottonwood tree on the farm I grew up on, it was the largest in circumference in the state of Minnesota, and John put a rosette of cotton wood leafs in mother of pearl in the rosette. At the time I had no idea what went into making a great classical guitar. I had my faith in John reinforced when the great classical composer Maximo Diego Pujol effusively complimented the guitar when I took a lesson from him. I’ve bought a number of guitars from John, including a beautiful 000 that he had made for someone and was returned. I played it and had to have it. Except for a Martin and a National, I only buy instruments made by individual luthiers, used, as mentioned before it’s a way to get beautiful instruments for good prices. My main point is that John is a neighbor and a friend, and he takes care of the embarrassingly large collection of instruments I now have. Any problem I have, John can fix it. I feel really lucky.

[fitness1]

My first was in '05 - I'd owned an '89 Taylor 512c with a 1 7/8 nut for a decade and gigged extensively with it.

I sold it when I played my first Larrivee - an OM-05 which I found just a bit more lively than my Taylor (which I think I may have worn out)

I had Jean and Matthew build me an OM-05 with a 1 7/8 and an abalone top - lovely guitar that turned out great, and the interactions with the two of them was a lot of fun.

I've done several other builds since, and they have all turned out as expected.

To your question about "why" - it's due in large part because of my needs for string spacing (nut and saddle) There just aren't many out there that suit my needs.

I've also learned a lot over the last nearly 45 years of playing what wood combinations and body sizes are best to my ear, and that aspect has a good bit to do with my custom builds as well.

[SprintBob]

After I got my first Collings (a pre-owned OM1A) and played it against several higher end Taylors I owned at the time (an 812, a 522, and a GS7), I realized there was a bit more there tonally in terms of sustain, overtones, and just the resonance the guitar projected through my upper body. The logic of my mind said the Taylors were 8-9 on my subjective tonal scale while the Collings was 9-9.5. That led to a used Froggy and a couple of used Santa Cruz's which probably raised that bar another notch. My experience with these guitars has helped me develop fit details like nut width, scale lengths, neck details (12 fret versus 14 fret primarily), and bridge string spacings I prefer as well as the opportunity to play guitars with different tonewood combinations I wanted to try (primarily back and sides as I seem to love Adirondack tops). That experience and further research gave me the insight and confidence to approach Jason Kostal that resulted in the German Spruce/Koa commission I have in build right now. I also had an all koa Taylor K-22 which I bought new which had the sweetest and most balanced tone but it did not project or sustain like the Froggy, Collings, and SC guitars. In our initial conversations, I found Jason had the same appreciation for koa and based on my playing style and preferences, he sold me on koa back and sides and the German spruce top. He believed the German spruce would have nearly all the clarity of what I was appreciating with Adirondack tops but would also bring an “orchestral” finishing touch to the tone.

I'll second a lot of what others say above if you make the decision to commission and find a luthier you like and trust. I would not try to design the guitar. I would be prepared to tell the luthier how I want the guitar to fit me (physically) and what I am looking/hoping for tonally. I would get familiar enough with the luthier's aesthetic style to offer preferences but allow them flexibility to still recommend what they believe will work best. Then I believe you need to step back and let them do what they do best in terms of design and construction.

[bho]

Hi there,

you have already gotten a lot of great advice from folks here. I will add some additonal thoughts:

So what led you to commission your first custom build?
I wanted to have a really nice guitar. I love good craftsmanship, and gravitate towards a particular tone- what many describe as a "vintage Martin" tone.

How did you go about selecting a builder?
I was interested in being part of the build process. I am fortunate to live in Seattle, within driving distance of many Washington and Oregon luthiers. I posted on the AGF, asking for builder recommendations in the area. I compiled a list of about 6 or 7, reached out to them, then drove to each builder's shop to meet them, play their guitars on hand, and talk about their thoughts on guitar tone.

Had you played that builders guitars before ordering one?
Yes. In my experience, builders tend to have a tone that is similar amongst all of their builds, regardless of guitar size or tonewoods used. Playing even just one guitar from a builder will give you a good sense of what many if not most guitars from that builder will sound like.

Or did you just take a very expensive leap of faith?
Even having played guitars by the builders, each guitar is unique. So there is always some degree of leap of faith.

For two later custom builds, I took a leap of faith and ordered based on hearing one luthier's guitar at a live music venue, and another strictly based on recommendations and research. Both turned out fabulously.

How did it turn out?
Awesome.

Any words of wisdom you care to impart on the uninitiated?
There is a lot of good information on this forum, so do your research and get people's thoughts on various builders. You may also want to check the UMGF.

Play at least one guitar, and preferably more, so you have a good sense of the builder's tone. And can see if you like their sense of design if that is important to you.

As others have said, rely on the luthier to make the key choices. They will know how to do their craft, find a tone, get a look, etc. Don't get too hung up on tonewoods if you can help it.

Some practical tips:
-every thing you add is an upcharge. There is the base price, but adding a figured tonewood can add hundreds or thousands of dollars to the price of a guitar. Determine your $ comfort zone as that will rule out some options.
-playability is critically important. Focus on neck shape, nut width, string spacing and the like. Play a lot of guitars, even in stores, to see what factors are important to you in this respect.
-decide what tone you are looking for. Over time I have figured out that many luthiers who build stunning instruments build primarily for fingerstyle players. Those guitars, which may have rich overtones when notes are struck individually may not sound as good to your ears when strummed, or played with a pick.

And, have fun! Meeting luthiers and following builds and having input is a rich, wonderful experience.

Best of luck in your journey.

[kkrell]

So what led you to commission your first custom build?

While moving into school for the fall semester I "rescued" a Yamaha 6-string from a student going home after the summer. Rescued, in that I couldn't stand that they had it in their VW in the hot sun. It was the first steel string that I owned, and I used it for voice lessons. Eventually, the heat damage must have loosened the glues & the neck shifted, resulting in a high action. I had an opportunity to go to Los Angeles for a month's long job, that would pay for a replacement guitar.

While in Los Angeles, went to McCabe's, but wasn't happy with most of the guitars in my budget. Martin was close, a little more expensive, but I didn't care for the plastic binding.

On the wall, however, was a Don Musser dread with Indian Rosewood back & either a cedar or redwood top. Playability was astounding. The ability to play (and barre chord) cleanly all up & down the neck comfortably was what attracted me. Cheaper than the Martin & obviously better constructed & setup, and included wood binding. Unfortunately, not the woods I was looking for. McCabe's suggested I contact the builder & gave me his parent's (local) phone #. I called & they put me in touch with Don.

How did you go about selecting a builder?

Talked to Don Musser, & realized he was a student of David Russell Young. I had previously purchased David Russell Young's book in hopes of building a guitar myself, but never progressed beyond acquiring some wood & accessories. I figured David Russell Young's experience as an instrument repairer/curator at UCLA lent some strength to his expertise.

When Don came to L.A. to visit his parents, he brought some wood to show me & I went over & selected with him.


Had you played that builders guitars before ordering one?

A variation, at McCabe's, although different woods than I had been seeking (as above).

Or did you just take a very expensive leap of faith?

Yes. Left it all to Don for the details. Hardly bothered him until it was complete.

How did it turn out?

Awesome. Better than I asked for or expected. There was some communication when he asked if I wanted a headstock inlay, & I decided I did want to customize that, & sent (& oriented) a company logo to fit between the tuning pegs.

Any words of wisdom you care to impart on the uninitiated?

Let the builder do their thing. Give them their head, so to speak. It's obviously a creative endeavor for them & they should gain some pleasure from having the freedom to apply their craft.

[Mdfire]

Just collected a custom build I commissioned a few weeks ago. Couldn’t be happier with it. The whole experience is completely different than going into a shop and buying a guitar. It’s a leap into the unknown but much more rewarding. From the selection of tone woods, cutaway or not, bevel or an additional sound hole to right down to the type of buttons on the tuners. The regular photos obviously just heighten the excitement. Feel free to ask any questions

[colins]

So what led you to commission your first custom build?
Tone…tone and…. tone. Different builders focus on different tones and for me the fundamental of a custom build is finding builders whose guitars have the tone I want. Playability seems to vary between builders so I look for that too. Particular dimensions (for the neck etc.) are part of the specification process. Quality should be a given for any good custom build.

How did you go about selecting a builder?
I have made a lot of effort to play guitars by as many different builders as I can. My custom builds started after I went to the The Music Emporium one day and saw a used Baranik on the wall. I’d never heard of Mike B and asked if I could play it. And in that Baranik I found the tone that worked for me and made me forsake my Martins, Taylors and Goodalls. I didn’t buy the used one from TME, but had Mike build me something a little different.

Had you played that builder’s guitars before ordering one?
Every time for six custom builds (three with Mike Baranik). And got to know the builder as best I could. And thought hard about what I wanted out of the guitar and talked that through with the builder.

Or did you just take a very expensive leap of faith?
At the price point for a good custom build, taking a leap of faith frightens the stuffing out of me! As I said above, I always play a builder’s guitars before I consider a build with them. That said, I really admire the people that don’t need to do this and are still satisfied. It just goes to show that we each approach this issue from our own perspective.

The only time I have bought a (used) guitar without playing it, I was massively disappointed. And that guitar was from a respected builder with a base price well over $10k. It’s not that it was a bad guitar, it just wasn’t the right guitar for me.

How did the builds turn out?
I have commissioned six builds now, with four luthiers. Every build process was unique and fun and every guitar has been great. I have gained particular enjoyment out of meeting the builders too as, for me at least, it gives the build process and the guitar more meaning. The tone definitely comes first, but then the enjoyment of the build and the particular aesthetics of each guitar certainly add to the experience and the end result. My particular weakness is inlays by the very talented Jimmi Wingert - https://www.instagram.com/jimmiwingertinlay/?hl=en

Having had six custom builds that were all massively good fun and with great results, I hope you join in and get as much enjoyment out of your custom build(s) it as I have.

And we'd like a build thread too, if you are up for it!

[morgankelsey]

Buying a handmade guitar is what ultimately got me into luthiery. It wasn't a commission, I bought a pre-owned flamenco guitar from a reputable dealer, made by a well known flamenco luthier. Ironically, I make steel string flat tops mostly, but the craftsmanship and sound of that guitar changed my life (literally).

I wouldn't shy away from buying a "spec" guitar from a builder either. Personally I've done some of my best work when I'm building "just because". When I'm doing a commission I spend too much energy worrying about whether the client is going to like this or that, and consequently take less risks. It's probably just my own neurosis manifesting itself, but it is akin to the mystery many of us know as players -- we do our best playing alone, with no one listening. Again, it could just be me....