What is your approach to commissioning a guitar?

[Jwills57]

I've commissioned quite a few guitars over the years. My only advice, after the obvious caveat of "do your homework", is to be open to the possibility that the guitar you imagined and heard in your head may not exactly be the guitar you are going to get. I commissioned a Ted Thompson T1 back in the day, cedar top, East Indian rosewood back and sides, upgraded trim package. It was a beautiful, transcendent thing, indeed. But for a while I just couldn't quite bond with the sound. Don't know why. I already had many great guitars, and perhaps I expected the Thompson to do something my other great guitars couldn't quite do. So I kind of stopped playing it for a year or so. Then one day I went down in my guitar room and picked it up, changed the strings, and the magic happened. Maybe it happened to the guitar or maybe it happened to me. But that guitar became just about my favorite of all time, just an amazingly deep, dynamic, almost spiritual voice to it, the only guitar I ever sold that I regret selling. So, there you go. Be open to all the possibilities.

[jaymarsch]

Some really good advice already covered here.

I have gone through the wonderful process of having a custom guitar built twice. Once in 2003 and once in 2018. I played a lot of guitars to nail down what I wanted in terms of tone and feel. I had some thoughts about aesthetics as well but picked the luthier based on tone and feel first and foremost. I was lucky in that I was able to meet both luthiers that I dealt with in person and was able to play for them and have them asked me some great questions that I would not have considered.

I had a very good idea ahead of time what each luthier brought to the table because I was able to play a number of their guitars before I decided to work with them.

I appreciated the communication style, flexibility, and responsiveness of both builders. And they appreciated those qualities in me. It was a good match in both cases.

I think that in both cases, we each had a clear expectation of the process and the end result and as things shifted and changed throughout the process (as it sometimes can) it was easy to adjust to and move forward.

I am a good listener and I picked two luthiers who were also good listeners. I picked luthiers who also happen to be musicians and good guitar players themselves.

I am a person who likes to be involved in the process early on, get clear on what I want and their clarity on delivering it, and then once the expectations are clear, let the luthiers do what they do best and trust them. My job is then to not be attached to my idea of the outcome and be open to being positively surprised.

I also knew what the return policy was in both cases so if the unthinkable happened, I knew ahead of time what my options were. No need for it in either case, but it was important for me to know this as I was investing a good chunk of change in the process.

Lastly, if you are lucky enough to pick up your guitar in person and are happy with the results, treat them to lunch. They will have most likely spent more hours than you could imagine and even a sleepless night or two to ensure they could deliver on what you wanted.

Best,
Jayne

[Guitars44me]

"Lastly, if you are lucky enough to pick up your guitar in person and are happy with the results, treat them to lunch. They will have most likely spent more hours than you could imagine and even a sleepless night or two to ensure they could deliver on what you wanted. "

Heck, even if they ship it to you! If you are pleased, and I hope you ALL are, send them a present or two. These builders really do put a LOT of themselves in our instruments!!!

Cheers

Paul

[srick]

Recently, I commissioned my first (ever) build with Dale Fairbanks. First, there was a personal connection, as I knew Dale and his family. But also, his guitars meshed with my repertoire. I had played several of his guitars and found that the Gibson universe was a pretty good fit for me. Then, I set forth some really broad guidelines:

1. I like to play Rev Gary Davis and Travis style tunes, so I was looking for a guitar with a good ‘thump’
2. I wanted Dale to have fun with the build; I wanted him to build a guitar that he wanted to play. I feel that if you allow the builder freedom, you will have a better result.
3. I wanted the playability of a guitar that Dale was very familiar with: John Thomas’ 1943 Gibson SJ, which plays like a dream.

There were a few other touches, but I have tried to be hands off as much as possible. I supplied the back and side wood - a piece of salvaged mahogany that a close friend (now deceased) had always wanted to make into a guitar. But I am letting Dale choose the top, the neck, etc.

IMO, this guitar will be his as much as it is mine. I wouldn’t be surprised that every time we see each other in the future, he’ll ask how the guitar is doing, and if I have it nearby, I’m sure he’ll want to play it.

Rick

PS - I also think that we grow into an instrument. Every guitar has its nuances and peculiarities. I have no doubt that when this guitar is delivered, It will feel foreign, but within a few days, I will adapt and fall in love with it. Sounds like an arranged marriage!

[cigarfan]

Lots of good input here. Have to say, my commission approach today is nothing like it was for number one! Over time I've learned so much about tonewoods and their effect ... dimensions and my playing preferences ... and the most important, signature tone of the builder.

My initial approach at this point is to engage the luthier in a discussion about my playing style. Then discuss tonewoods for our project and pick the best sets of wood he has in the stack. I may make some esthetic requests (I love shell ... can't help myself) but I usually depend on my luthier to keep me on track maintaining the theme we've decided on.

Now I ask for plenty of pictures of the process. I love to watch and I know my fellow AGFers do too. At this point, the journey in my commissions means a lot to me. Part of the thrill for me is watching the magic of the guitar coming together.

Otherwise, I leave the rest in the hands of the luthier giving them license to take us down whatever path seems right for the instrument at hand.

[srick]

Originally Posted by cigarfan

Now I ask for plenty of pictures of the process. I love to watch and I know my fellow AGFers do too. At this point, the journey in my commissions means a lot to me. Part of the thrill for me is watching the magic of the guitar coming together.
.

It’s almost like opening an Advent calendar waiting for Christmas to come.

[The Bard Rocks]

Originally Posted by jaymarsch

I am a person who likes to be involved in the process early on, get clear on what I want and their clarity on delivering it, and then once the expectations are clear, let the luthiers do what they do best and trust them. My job is then to not be attached to my idea of the outcome and be open to being positively surprised.

Right on, Jayne! I should have said this first - then said all the other stuff.

[jaymarsch]

Originally Posted by srick

It’s almost like opening an Advent calendar waiting for Christmas to come.

Great analogy, srick!

Best,
Jayne

[usb_chord]

My process has been to simply play as many examples of the builder’s work as I can. By the time I'm ready to commission I pretty much know exactly what I want!

[jt1]

I've a simple approach. Contact your favorite luthier, specify your favorite body shape, do not request that the luthier voice the guitar other than how the luthier wishes, ask him, her, or them to paint (well, I'd only commission a luthier who does his/her/their own finishes and uses varnish) it black and to decorate the instrument in stunning and unique fashion. I'm still thrilled with the result.

[jmat]

Originally Posted by jt1

I've a simple approach. Contact your favorite luthier, specify your favorite body shape, do not request that the luthier voice the guitar other than how the luthier wishes, ask him, her, or them to paint (well, I'd only commission a luthier who does his/her/their own finishes and uses varnish) it ...

“John sees a guitar and he wants it painted black
No colors anymore, John wants them to turn black”

(Apologies to the Stones...and John)

[justonwo]

There’s something about mother of toilet seat that suits you so well, jt1.

[jt1]

Originally Posted by justonwo

There’s something about mother of toilet seat that suits you so well, jt1.

I heart MOTS!

[Guitars44me]

Originally Posted by jt1

I heart MOTS!

Hey JT

My first drumset, which I got at age 9, was a Ludwig 20" White Marine Pearl kick, a chrome snare and a high hat with A Zildjians...

I LOVE MOTS, too.

However, I prefer beautiful wood that sounds SPECTACULAR on my guitars.

I still drool over the 50s WMP Ludwigs that occasionally show up on Reverb and eBay .

As Bob Taylor once told me, "You can't hear inlay!" Funny as Taylor has made a LOT of moolah off fancy inlay...

That axe is really pretty, though!

Cheers

Paul

[jt1]

Originally Posted by Guitars44me

Hey JT

My first drumset, which I got at age 9, was a Ludwig 20" White Marine Pearl kick, a chrome snare and a high hat with A Zildjians...

I LOVE MOTS, too.

However, I prefer beautiful wood that sounds SPECTACULAR on my guitars.

I still drool over the 50s WMP Ludwigs that occasionally show up on Reverb and eBay .

As Bob Taylor once told me, "You can't hear inlay!" Funny as Taylor has made a LOT of moolah off fancy inlay...

That axe is really pretty, though!

Cheers

Paul

Paul, thanks.

The guitar has a back story. One day while visiting his workshop, I asked Kim Walker what happened to woods that were visually challenged but sonically superb. His customers, who at that point had created a 9-year wait list (he shortly thereafter ceased taking orders) wouldn't accept the visually challenged woods, of course. So I asked that each time he came across such a piece of wood, he toss it into a pile. When the pile contained enough pieces to built a guitar, I asked that he make me a black guitar.

Well, the guitar would be completed around the point when Kim would have been building instruments for 33 years. So, I hatched the idea of a 1/3 Century of Progress, playing on the Gibson Century of Progress instruments the company produced for the 1933 Century of Progress International Exposition. Kim had some original 1930s Italian MOTS in the shop, just enough to produce a headstock inspired by those Gibsons.

Having a blank, black canvass, Kim and I could not resist playing homage to our favorite periods of art. That binding was the last bit of original 1950s Rickenbacker binding left on the planet.

Anyway, to make a long story longer, the guitar and story did a star turn in Fretboard Journal:



And, the guitar got a one-of-a-kind serial number:



PS on edit: mainly I posted about the black Walker to derail Juston's thread with pics of a guitar he (rightly) covets.