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011. The Classikulele.

Using the same techniques as the ones employed in building classical guitars, Hart’s Guitars is excited to introduce its debut Classikulele!

I’ve dabbled in ukulele playing before when I bought one for $50 fresh off a beach trip, wanting my life to have a little bit more tropical je ne sais quois. There was a songbook as well, Crazy Jim’s Ukulele Songbook, or something to that effect. I learned a song called Chasing Rainbows and it was a lot of fun to play and probably the first jazz-standard feeling song I ever learned. Typical as with most obsessive impulsive hobbies, the ukulele ends up collecting dust and I later loaned it out with the book to a girlfriend and then never saw it again.

Since beginning the study of lutherie, I’ve wanted to build many types of instruments (like the Oud, for example) and on top of that list or near so has been the uke. After finishing up with a recent student and with a few days of downtime to recover from a Guitar Building Intensive, I decided to build one.

I got online to order some plans. Then, I thought. Do I need any plans? I don’t need any plans! So, as with my first guitar build, 001, I decided to simply design my own. I did not need to spend $30 on any plans from the Guild of American Luthiers! So, I sketched my idea for this classikulele in the morning of Thursday, July 2nd and started working on it. A week later I was finished except for the frets, which were somewhere in the USPS backlog.

Do you wanna build your own ukulele? Hart’s Guitars will be offering workshops soon. In the meantime, there is a book you must have if you’re seriously contemplating the idea of taking the plunge into the world of building a ukulele. Here is my book review of The Uke Book Illustrated: Design and Build the World’s Coolest Ukulele. I have to contain myself from a tendency to overhype things I love. But, this book is the sh!+! Let me explain….

Worth the price simply for all of the watercolour paintings in its pages.

Sarah Greenbaum is an artist. John Weissenrieder is a luthier. His shop is in the historic part of Florence, Italy! Sarah went to spend time with John, to observe him working, and paint illustrations of all the steps of the process and over cappuccinos they collaborated in this way to make the coolest book of lutherie you’ll ever see. Don’t be fooled by the picture book feel of the cover because this little tome is full of incredible information including: how to make jigs and tools of various sorts, Pythagorean math as a way to create the perfectly radiused arch in the instrument’s cross struts, and how to flush fret endings to the fingerboard and give them a 60° bevel, what!!?. There are paintings, watercolour paintings, that illustrate these things!

I’ve owned this book for nearly two years. I’ve consulted it often as it is an invaluable resource of information and inspiration for guitar builders. I loved it from the moment I opened it. It was only a couple of weeks ago when I decided to build a ukulele that I decided to read everything in the book, beginning on the cover, reacquainting myself with the author’s and illustrator’s name, and then flipping over and starting with the introduction to the book and that’s when I learned something that cemented a perpetual top 5 spot in my favourites for this little textbook.

Before The Uke Book Illustrated was finished, John Weissenreider passed away from pancreatic cancer. In 2015 he received the diagnosis. At the time, he and Sarah Greenbaum were a year and a half into the project. From the moment of his diagnosis until his passing, Sarah Greenbaum writes that he spent countless hours devoted to this book, “making sure there were no gaps left unfilled.” He wanted to pass on to the world, through this book, all of his knowledge. This is the sort of learning one gets through apprenticeships. This book is his legacy, a key into seeing the beauty and details in the handmade. I imagine they were more than collaborators while they worked together on this. The art of watercolour and the secret teachings of lutherie come together. Who new. Even if you have no inclination to get into the world of lutherie, this is a book you could fall in love with.

My first ukulele build.

Thanks for stopping by to read my post.

Coming soon, an article about my experience building Guitar 012….a little bit of tragedy but with a happy ending?

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Guitar 001

Before there was ever a website, an operational classroom of guitar lutherie, or a logo, there was only an idea to make a guitar I’d never seen or heard anywhere before. I was after something that I struggled to described: a timeless guitar, nylon string but not strictly classical, big-bodied, voluptuousness that you’d want to curl up with and never let go of. A delight to touch, to see, to hold and to hear. It would be perfect for jazz (especially bossa nova and latino jazz), blues, classical, flamenco, Americana, country, jazz country, and maybe even for styles not yet known. I wanted it to be a piece of art. I wanted it to be the one I’d never let go of. I wanted it to be my Trigger.

I never was able to find that guitar but one day the sky opened up and lit an unmistakable path so I could find that guitar. That was about two years ago almost to this very day. Despite having worked as a carpenter, having learned to and made numerous West African drums called sangban, kenkeni, and dununba, it had never occurred to me to try to learn to build a guitar. I thought lutherie (the art of making stringed instruments) was something you were born into, like people are born into wine-making families, farming families, investment firm families. It was for other people who were not me.

Two years ago I was on a short drive from Athens, GA to Lexington to visit friends I had not seen in over a decade. There was a store in the turn-of-the-century brick downtown of Lexington that had a window display of some of the most interesting guitars I’d ever seen. I was on summer vacation as a public school teacher with money in pocket and always open to getting a cool guitar so I pulled into the parking space in front of that store and went in. The showroom was cool. It was perfectly small, cozy, warm and inviting. It was full of the coolest guitars I’d ever seen. Turns out, dude in the store, a guy my age, was the owner of the store and he made all those guitars himself. They were unique in shape, size, and build. I played a few of them and instantly wanted to drop a lot of money into his cash register.

This is the good part. After a few minutes of playing and chatting, he asked me if I wanted to see his shop. We walked through a curtain door into a room that opened up to three, four, or a thousand times the space that was in the showroom. In a space of one second:

  • I saw a room full of guitar necks in different stages of development.
  • I feasted my eyes on all sort of old-fashioned woodworking tools: hand-planes, chisels, clamps, you name it
  • I saw guitar bodies, sides, tops, backs.
  • I knew I was going to leave teaching and that I was going to make guitars.

Yes, that all happened quickly. Things didn’t start rolling immediately, it took at least two hours for me to get back home to Atlanta, get on Amazon, and buy Guitar Making Tradition and Technology (but I had to be cool and pay triple the price to have the original 1st edition hardback). Then, it took another 5 minutes or so to find a guitar building workshop to attend, one that aligned perfectly with my fall break at school.

But, where to set up shop at home? By the grace of God, I had a full, unfinished basement under my 1200 square foot upstairs living space. Not only was it completely unused space but the basement also has a very clean concrete floor and no moisture problems, at all, which had actually been the tipping point when I decided to buy the house.

I found inspiration in this nook. I wanted to transform it. It would become something special and that would be the kickoff project for the transformation I was about to undergo. I bought a Japanese pull-saw, some framing 2x6s, and found a stash of old wood I’d been hauling from place to place each time I moved for the last 5-10 years. After a couple of days, the nook was something new. I still have not found a perfect use for it, but it has filled many roles.

I quickly decided that I wanted to make the guitar out of an old dresser. These are the first top and back set I ever cut. Not having any luthier tools, what you see in this pick took about 5 hrs of work. I eventually learned what kind of wood you must use to make a decent instrument, so they never made it into a guitar, poor fellas.

The learning curve is quite an elliptically exponential and seemingly never-ending trudge through hard decision$ to make concerning purcha$ing the necessary tool$ and then learning how to use those tools. Millions of videos on how to: use the tools, sharpen the tools, calibrate the tools, fix the tools, but nothing on how to slam the tools on the floor or throw them across the room when they won’t do what you want them to do.

Highlights from the first bend in the learning curve.


Binah

Along the way, I lost a very special friend, soul mate, son, brother, BFF, homie and once in a lifetime sorta pet. I probably might have finished the guitar in 6 months, but the emotional high of becoming a luthier was crushed to bits with the rest of me. Binah will always live inside this guitar. He was there with me through the beginning and all the way up til this moment: As soon as I got to this point, attaching the sides to the top, I put the guitar down and headed out for Thanksgiving. It was the last time I ever saw my little man alive.

There’s no way I can ever tell the story of my first steps into guitar-making without placing this footnote where it belongs. I’ll never forget Binah.


I didn’t have a blog when I finished this guitar, so it never had its own article. Out of all the ones I’ve built so far, it’s definitely the one that deserves it the most. In celebration of two years on this journey, I can think of no better way than to hit the publish button then go grab a spot on the couch with this beauty until it’s bedtime.

Not for sale.

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Guitar 010.

I began this making this guitar alongside a student building his in February. Then a pandemic came. We focused on finishing his. To say the least, it has been a very strange gap between my last post and what I have to share today, which is a small gigantic milestone. I want to celebrate the fact that I’ve made 10 guitars.

But, aside from this being a trivial matter considering the moment we find ourselves in, there just really isn’t any reason why the number ten should be any more meaningful than 9. In fact, in some regards, the number 9 is a sacred number (in the Bible and also in other major religious texts and traditions). But, I digress. Let’s get to the pics, shall we.

Hart’s Guitars Ltd Co is back in full swing. Don from Brunswick is coming next week to stay here at The Bamboozle and build a guitar using plans based on an 1864 model of Antonio de Torres, an unrivaled and revolutionary figure in the world of 19th century classical guitar luthiers.

When I get a new set of plans…I trace all the parts, transfer the trace paper to the pieces of wood, cut and sand to shape.

Then I need to make a monstrosity of a jig to bend the sides.

I spend about an entire day building this “side bending machine” for each different guitar.

The guitar is from a set of plans for an 1867 Francisco Gonzalez and he had a much more flamboyant rosette and binding style than most guitars we see today. My intent to make this one in his style really got off to a slow, then ugly start. I almost threw the soundboard away.

I was not even close to happy with the way this was developing. I screwed up. The outer ring is made up of three slices of different species of wood bent to circles. From the outer layer goin in: Brazilian Rosewood, Spanish Cedar, Cocobolo Rosewood. You can see that some of the pieces were damaged especially in the 3 o’clock range. I’ve read that the secret to becoming a better luthier is to become better at covering your mistakes. So, I stayed with it and I’m surely glad I did because I am so proud to say that I turned it into this….
Ugly duckling into swan.
The soundboard is Alaskan Yellow Cedar. The binding that flows along its perimeter is made up of three thin strips of different species of wood that I spent forever and a day cutting, sanding and re-sanding, throwing away, re-cutting and sanding (Cocobolo Rosewood, Maple, & Chakte Viga). They meet up at the corner with with a beautifully made vintage strip of binding I found at a local exotic-wood shop, Carlton’s Rare Woods and Veneers.. The sides of the guitar is bird’s eye maple. I’m beyond satisfied with how this all turned out aesthetically. It added a week to the job of building this instrument, but in my attempt to balance the art and the science of being a luthier, I’ll always have my scales tipped to the art side.

A while back I asked people to vote for the fingerboard to be used. It was a very contested result, split down the middle between choices B and D. So, I threw the results out the window and went with the canary wood, E.

This has been a fun one to play and it sounds really distinct. I’m still letting it “settle in” which is a phenomenon that takes place over a few weeks and longer wherein the instrument plays and sounds a little better with every passing day as you make micro adjustments. It will be available for sale with all of the others, except 001 of course, in the coming days on a newly designed store page, with prices and photo montage videos with audio of the instrument being played.

This instrument sounds amazing. I am ready to sell it with no hesitation for $1795. This is quite a bargain for anyone who knows what hand-crafted guitars go for usually or have seen websites that sell independent-luthier handcrafted classicals. I will personally deliver within a 2 hr radius of Atlanta, GA for gas money and lunch. Honestly, I hate the thought of my instrument sitting in a place where it’s not cherished. If you have buyer’s remorse, there’s a no questions asked 30-day 100% money back guarantee. After that, a lifetime guarantee on anything other than normal wear and tear.

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A classical and acoustic guitar setup guide.

I’ve tried here to compile all that I’ve been able to learn regarding classical and acoustic guitar setups into an article for my students at Hart’s Guitars Co. Ltd. You may not need to read the entire article because you only need to fix one issue. Below, I have color-coded simple questions that can help you navigate quickly to the part of the process you need to jump to. Welcome to Hart’s Guitars’ classical guitar setup guide!


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Jeffrey’s finished classical guitar.

At 2:20 am this morning, Jeffrey and I made the last incision into the depth of his high E nut slot to bring the string’s action down at the lower frets 1-3. And…..we were “finished.” HAHAHAHA. If you’ve ever made anything with your hands where you’ve put a lot of time and energy, you know that no such project is every really “finished.” Here’s a shot from around 1:45 a.m., the moment we had been waiting for since we began the journey: bringing out the color of that granadillo and mahogany to its full richness and depth. It was late and the only way we could see it was under the shop lights, which aren’t bad but definitely don’t give the same hues the Sun will.

In the shop, it was the beginning of guitar 008 but Jeff was student 001 at Hart’s Guitar’s School of Lutherie guitar building intensive. Along the way, I learned that the body style Jeff was building, a Goya G-10 (classical guitar made in Switzerland in the 1950s), is the same guitar, the very SAME! guitar, held by Julie Andrews in The Sound of Music. Jeffrey selected wood that makes it look pretty distinct from that famous guitar. We love the shape and size. It feels so good in your hands. Also, the scale length is 630 mm instead of 650 (which is .78″ or about ¾”). That difference of ¾” is enough to make a world of difference when it comes to playing a guitar. The standard for classical guitars has always been 650 mm (25 ½” roughly). Quick fact: Not everyone’s hands are the same size. Countless people have probably not had success in learning to play guitar because this standard scale length made learning not pleasant for their hands. At Hart’s Guitars, we can build your guitar perfectly sized to fit you.

We worked mostly on the weekends and a few weeknights. We began in early January. Jeffrey was a great student with cabinetmaking woodworking experience. He picked some really nice wood on our trip to Carlton’s Rare Woods and Veneers.

My first student at Hart’s Guitar’s Co. Ltd has been a friend of mine for a long time. His wife bought him a spot in my guitar building intensive as what must be the coolest Christmas gift ever for anyone who plays guitar. We’ve had so much fun reliving the time we knew each other Athens, GA where we met. For a short while we were even roommates sometime around the year 1999 or so.

We decided on his first visit to the shop that we’d be building a Goya G-10. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City in mid 1950’s for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. In the 1970s, CF Martin (Martin guitars) bought the company and kept producing guitars under the brand name until the 90s. The “Goya” name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). There’s a Goya G-10, made in Sweden, hanging in my house that belongs to my lovely girlfriend and it’s a beautiful antique instrument that plays like a dream.

This Goya G-10 was made in 1955!!

Jeffrey has woodworking experience so it’s been a joy to give him basic instruction and watch his mirror neurons replicate through his hands exactly what I’ve demonstrated. He’s putting together quite a fantastic instrument.

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Hart’s Guitars to skip weekend markets until further notice.

Due to the rapid and wildly exponential spreading of coronavirus, Covid-19, Hart’s Guitars will not be attending this months’ Scott Antique Market in Atlanta. It’s a hard but logical conclusion to come to. At the risk of missing out on meeting new clients and pencilling in names for the upcoming guitar building classes, I think it’s more important to do my part to not only keep myself and family safe, but to also contribute in the wider effort of not giving this virus free range in which to disperse itself.

Stay tuned for articles and updates, however as I will continue to work with my current pupils on finishing their classical guitars. We have some really beautiful instruments almost completed here. Also coming soon, maybe in the next day or so, an article on complete acoustic guitar setup.

I’m still open for business, just not in markets where there’ll be thousands of people. There are a coupe of openings in spring guitar building classes, so sign up! i’m always taking in guitars for a nice restring and professional setup.

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009. Billy builds an 1869 Francisco Gonzalez classical at Hart’s Guitars. Pt. 1

Billy is my new student, “taking a break from the corporate world” where he has excelled at varying positions with Georgia Pacific and Amazon, among others. He found my website online and is coming to build his own guitar during this downtime, a reward to himself for hard work. I have a set of plans from the Guild of American Luthiers and for the first time, I’m building a classical guitar to spec. It’s been really fun to see the excitement on his face during the first few days of class. He has an online guitar business selling collector-quality instruments.

The artist, engineer, and luthier Francisco Gonzalez was a guitar builder in Madrid in the mid 1800s. In 1867, at the Universal Exposition in Paris, he was awarded a bronze metal for his guitars.

The layout of the bracing differs from the “fan bracing” revolution of Antonio Torres which was taking hold of the lutherie world right about the time this 1869 guitar was made.

Over the course of the first week, Billy and I accomplished a TON of items on the list to make his guitar. Then, I had to go home to Greenville, SC to take my mom to the doctor and spend a couple od days up there. When I returned, I fell ill for several days (not with Covid-19) and only days before the Coronavirus became an inevitability. After some delay, we were able to get back to work. Seeing the near future clearly in front of us and the disruption to modern life that was shaping up, we decided to just be casual with our approach, in no hurry. I advertise my guitar building intensive as a 7-day course. That flew out the window and we added to our projects the process of French-polishing our instruments. So, this also added a but more time to the process.

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008. Jeffrey’s Goya G-10 classical guitar, Pt. 1

My first student at Hart’s Guitar’s Co. Ltd has been a friend of mine for a long time. His wife bought him a spot in my guitar building intensive as what must be the coolest Christmas gift ever for anyone who plays guitar. We’ve had so much fun reliving the time we knew each other Athens, GA where we met. For a short while we were even roommates sometime around the year 1999 or so.

We decided on his first visit to the shop that we’d be building a Goya G-10. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City in mid 1950’s for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. In the 1970s, CF Martin (Martin guitars) bought the company and kept producing guitars under the brand name until the 90s. The “Goya” name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). There’s a Goya G-10, made in Sweden, hanging in my house that belongs to my lovely girlfriend and it’s a beautiful antique instrument that plays like a dream.

This Goya G-10 was made in 1955!!

Jeffrey has woodworking experience so it’s been a joy to give him basic instruction and watch his mirror neurons replicate through his hands exactly what I’ve demonstrated. He’s putting together quite a fantastic instrument.

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Build your own guitar with me.

If you’ve ever entertained the idea of buying yourself a “nice guitar,” then let me give you an idea you've most likely never entertained. Come build your own guitar with me. I've searched my entire life for the elusive guitar that pleased my eyes as much as it felt amazing to my hands and fingers. Sadly, I've always found the same thing which is a multitude of manufactured guitars out there, dime-a-dozen, boring, and cost too much. Do you wanna spend a ton of money on some well-known brand name and have a guitar that thousands of others have? No, you want something unique, built for your specific hand size! I’m talking about the very special guitar which you will never get rid of. You just can’t find anything more special than the guitar you’ll build with me using your own hands. 

The instrument I will guide you in building can be a classical guitar of many styles. There are many legendary classical guitar plans we can work from. When you enroll, I will give you the options. You can also choose to build your guitar using any of the designs you like of mine here at Hart's Guitars.


Skills you will acquire building your guitar:

  • Precision cutting, truing, and squaring of hardwood pieces.
  • Use of hand planes, Japanese pull saws, chisels. and other unique hand tools.
  • How to prep and use the indisputable go-to glue for any serious luthier: Hot-hide glue.
  • Use of precision measuring tools.
  • Use of files and rasps to shape wood.
  • How to use a French curve template to make unique designs in woodworking.
  • Use of metric system units when they’re more appropriate in lutherie tasks.
  • Proper use of clamps to join trued surfaces.
  • Use of bandsaws, drill presses, routers, and other power tools.
  • Proper sanding techniques for the various stages of the woodworking process.
  • How to select wood that will serve to make a structurally sound and beautiful instrument.
  • General physics of how acoustic guitars make sound and the techniques luthiers use to maximize the wood’s potential.
  • Precision setup of the guitar that will make it a joy to play and maintain forever. This includes shaping the guitars nut and saddle to provide the lowest string action possible for your individual playing style. Speaking of…..a guitar’s action is a very subjective area. It describes (in simple terms) how “easy” the guitar is to play to make the sound you desire from your instrument. If a nice expensive guitar from the store is not a joy to play, then what is it worth to you? We will make your perfect guitar for the hands you have. Yes, in seven work days I can teach you how to build a classical guitar or “crossover” guitar (a nylon string guitar not bound by the strict aesthetic orthodoxy of the classical guitar world). This is my specialty.


The guitar building intensive does not include:


  • The course does not include the final finishing of your guitar (such as stain, shellac, French Polish). There just simply is not enough time to complete this step. It involves too many variables requiring too much waiting between applications. You will go home with a beautiful guitar with a nice oil rub finish that will be elegant. You may choose to French Polish it, varnish, stain, etc. later at home, at your own pace and leisure.
  • The course does not include a guitar case. Everyone will be building different sized instruments and each person has their own taste in case aesthetics. I will absolutely send you home with your guitar safely and securely packaged for the journey.
  • This is not a business class. I’m happy to share my experiences, my skills and the methods I’ve learned and are proven to work. But this class is NOT about how to run a lutherie business.
  • The course does not include lodging. However, there is an optional add-on of staying at my house with me for an additional $200. This is a whole other level of commitment on my part (extra work) BUT I’ll be happy to provide this service which includes: comfy bed, towels, washcloths, linens, unlimited wi-fi, coffee-and-toast breakfast each morning, endless coffee and tea all day, and complete access to a decent library of lutherie books, magazines, and videos. As an additional bonus: I’m also an avid plant medicine enthusiast with a whole apothecary of herbal material ready to make teas that you need at any given moment. I love to share my knowledge on this topic and to help people feel happy and balanced. If this bit of extra expense is too much of a burden financially and would keep you from coming to build your guitar, I am open to discussing some sort of barter exchange.

My first student ever, Jeffrey, is a hobbyist woodworker and a lifelong guitar player. He was given a spot in the guitar building course from his wife, It was quite a huge surprise Christmas gift!

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Articles about the building experience I’ve had with two different students:


Lutherie-specific skills you will learn during your 7-day guitar building intensive at Hart’s Guitars School of Lutherie:

Making the Neck Pt 1

  • Cut pieces to make neck and heel block
  • Cutting and attaching the headstock
  • True angled edges of headstock and neck top
  • Glue headstock to neck billet
  • Cut and glue heel-block
  • – – – – – – – – – – – – – – – – — – – – – – — – – – – – – – – – – — — – – – – —

Neck Pt2

  • Sand and true headstock and heel block in relation to the neck
  • Choose and cut headstock veneer(s)
  • Mark and Drill holes into headstock for tuners 
  • Glue headstock veneer(s)
  • Draw outline and shape of the headstock
  • Rough cut tuning pin channels
  • Mark heel block outlines
  • Cut side slots into the heel block
  • Cut heel-block to its final dimension
  • Rough shape-in of 85% of heel block
  • Plane sides of neck true (from nut to heel block)

Top & back Plates

  • Sand top and back to within 1/16” of final thickness (Soundboard final thickness: +/- .095” BACK final thickness: +/-.090″)
  • Draw shape of guitar and cut soundboard and back leaving 3/16” around perimeter
  • Drill sound hole center
  • Route traditional Spanish rosette channel
  • Cut out sound hole when rosette channel is completely finished
  • Install and glue rosette
  • Sand rosette down to flush with soundboard.

Soundboard bracing

  • Cut braces for soundboard.
  • Sand braces in 30’ arch sanding dish
  • Mark and Glue braces in place
  • Carve/Shape/Scallop bracing
  • Cut and shape tailblock:
  • Glue tailblock to soundboard

Sides: prep and install, Pt.1

  • Cut width of sides to desired thickness for guitar. (Height of the heel block)
  • Thickness sides to +/- .065”
  • Sand insides to final smoothness.

Top and back Bracing 

  • Make cut list and mill pieces to use as braces for guitar’s top (soundboard)
  • Mark the guitars bracing pattern onto the underside of the soundboard.
  • Glue braces into place
  • Carve/Shape/scallop braces
  • REPEAT ENTIRE PROCESS FOR THE BACK’S BRACING

Assembly

  • Route top of headblock to fit guitar’s top
  • Glue soundboard to the headblock of the neck.
  • Measure down from nut and mark the precise scale & location of the guitar’s saddle
  • Glue the guitar’s bridge into its place based on the saddle slot placement & compensation marks.
  • Cut and shape tailblock with a height equal to the width of guitars sides (at the back after taper)
  • Glue tailblock into its place
  • Bend and shape sides to fit the outline of the guitar and place squarely into position 
  • Glue kerfing into place to hold both sides of guitar to final shape
  • Once dry, sand the bottom of guitar in the 30’ sanding disc to its final domed shape
  • Glue on the back of the guitar.
  • Once dry, do a complete flush trimming of guitar’s top and back, then sand all around the perimeter to remove all glue.

BINDING

  • With guitar sides trimmed flush and everything sanded, Measure width & height of binding to be installed.
  • Sketch a plan/rendition of what the routed channel(s) will be in relation to where top and sides meet. Repeat same process for guitar’s back.
  • Route the guitar’s binding channels for top and back. 
  • Clean the channels (remove any debris, fibers, etc)
  • Do any necessary bending of the binding so that it conforms and nests easily into routed channels of the guitar’s shape.
  • Glue guitar’s top binding into place
  • When glue has had time to set, use sharp blades and chisels to remove excess glue.
  • Repeat top for the back of the guitar.
  • Clean up all glue from surfaces before it has time to dry hard.

Fingerboard install

  • Sand run of neck’s surface true across plane where it meets soundboard.
  • Plane and True bottom of fingerboard if necessary.
  • Recheck centerline and mark placement of neck.
  • Install fret markers (if desired)
  • Install frets into slots, clip, and sand flush for slots that will be above soundboard (usually 12th fret and beyond). This will allow frets to be seated properly without the need to hammer surface of fingerboard supported only by soundboard.
  • Glue neck into place.
  • Remove excess glue.
  • Install frets and clip as flush as possible
  • File frets flush to fingerboard.

Prep for setup.

  • Shape headstock if not already done.
  • Do final sanding where necessary.
  • Perform meticulous inspection of everything.
  • Install tuning machines.

Setup. Pt 1

  • Place nut into the nut slot.
  • Use straight edge to mark rough shape-in of nut.
  • Mark center of nut.
  • Mark string placements across the nut
  • File in initial slots at string placement marks

—————————————————————————————

  • Using straight edge, mark and file/sand height of bridge
  • Rough-in height and shape of guitar’s saddle.
  • Check with straight-edge from fretboard to saddle’s top the string height and make adjustments as necessary.

Setup. Pt 2

  • String up the guitar
  • Adjust height of saddle to meet proper string action @ 12th fret.
  • Make adjustments by checking, shaping saddle, and rechecking height of individual strings at 12th fret.
  • When action of guitar at 12th fret is set, file nut slots to exact depth for proper string action at the Nut. 
  • Play the guitar. Does it feel amazing? If you answer NO or “not sure” make another micro adjustment. Repeat until answer is YES.
  • Consider type of action desired (picking versus finger style, playing style, etc) while making the final micro-adjustments.


Additional details of Guitar Building Intensive

This is not an exhaustive list of all the details, but rather gives a feeling of what your time with me will be like.

Cost of the workshop IS $2350.* The price includes instruction & materials.

*If you would like to choose from the materials I have available at my shop. Here are the options (TOP: sitka spruce, mahogany, Spanish cedar  SIDESmahagonySpanish cedar, padaukcanary woodcurly maple, or maple. BACKmahagony, Padauk, or Spanish cedar. NECK: mahagony or Spanish cedar. Fingerboard: Ebony Macassar, Bolivian Rosewood, Canary Wood, Cocobolo Rosewood, or Padauk. Tuners: Golden Age ClassicalStrings: of your choice, Rosettetraditional Spanish-style of your choice, and Binding to compliment your wood choices).


Ready to reserve a spot?

A deposit of $750 will reserve your spot in the class, balance due on day 1 of the workshop). If you are local and not in a 7-day Intensive build, different payment arrangements can be made, if needed.

Your new instrument will be completed in 7 consecutive full workdays.

Bring a decent journal to take important notes, like a moleskin with dots on the page that helps with sketching illustrations.


What you will have at the end of this workshop

  • A beautiful guitar you made with your own hands using quality tone woods of your choice, a traditional Spanish-style rosette, with simple complimentary purfling/binding, quality tuning machines, and your favorite strings. The instrument will have a professional grade setup and sanded down to a very nice completion up to 320 grit. I choose to finish my instruments with a Mahoney’s Oil Wax rub. I prefer the non-toxic nature of this. So….If you choose to do a more complicated finish, it will have to be on your own time after you return home with your instrument. There just is not enough time in the workshop for these sorts of finishes (staining, French Polish, etc) as they require repetitive steps with lots of time waiting in between those steps.


  • Unique classical guitars.

My guarantee

I spent over a decade as a public school teacher. I’ve worked with every learning style imaginable. There is no reason I won’t be able to teach and help you build your own guitar. Nonetheless, I will offer you my guarantee. If for any reason you are not satisfied, I’ll give you a 50% refund ($1,175), and I’ll keep the guitar. We’re going to spend a lot of hours on this. Time is money no matter where you live. The price of the course is 50% for the guitar and 50% for the instruction. The instruction takes a lot of my time. For this reason, I do not offer full refunds.


To qualify for my 50% refund guarantee, you must follow this simple set of expectations:*

  • Finish the course by: coming to all scheduled meetings and completing all the steps described by the instructor.
  • Do the work as described. I’ll be teaching you the way I build guitars using methods I’ve learned in lutherie workshops and from the process of building all the guitars I’ve built. IThere are countless ways to approach certain parts of the building process. If you want to take a radically different route from one of my proven traditional methods, you forfeit the guarantee.
  • Have all major work tasks signed off on, approved by me (the instructor) as an ongoing record that the instructions were followed throughout the process.
  • take your guitar home and play it for 14 days. If you still do not like the guitar, give it back to me and I will give you a 50% refund.

*when you finish your guitar and put strings on it and play it for the first time, there’s no way you are not going to be absolutely beside yourself with joy!! I don’t ever anticipate having to even go through this with anyone.


Miscellaneous

If you’re flying or driving in from far away, you will need to find a place to stay (Air BnB, Hotel, or my favorite, Couchsurfing). If you prefer, you can stay at Hart’s guitars for an additional fee of $250 (this includes a comfy bed, coffee and toast breakfast, wi-fi, all-day endless coffee).

Locals to the Atlanta area (in driving distance) can negotiate a different schedule if unable to attend 7 consecutive days.

This course is an intensive. We will work long days (at least 8 a.m. to 6 p.m.) so do NOT plan to go be a tourist around the Atlanta area. Plan to arrive a few days early or stay a few days after we’re done if you want to explore the city.

*Please explore other guitar making courses to fully understand that $2350 is a very good deal. I am providing a list of such courses below.

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How to reserve a spot

Pick a date that works for you and contact me: 404-971-1007 or hartsguitars@gmail.com. If you e-mail me with a date request, send a text to the phone number to bring it to my attention for immediate response. I get so many robocalls that I don't answer phone calls. Texting me will get a better response time.

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Guitar 006. Prototype.

This guitar 006 was completed in record time, for me. It has been an experimental guitar in that I drastically changed the shape , moved the sound hole, again, and even shortened the scale to 580 mm (22.8″). This is an ideal shape for a travel guitar or for a young person who is interested in learning the guitar, among other things. It’s simply easier to play but still sounds like a regular guitar. The same construction principles were used as with all the other ones. Sometimes this is referred to as a “half-size.” By the numbers, it’s not a half size but actually 90% of a regular sized guitar. A glass half full is one thing but this is a guitar 9/10ths full. Nevertheless, the little change in size makes a big difference in the change of comfortability of play, especially for people who aren’t professionals or who have hand sizes that are not matching well with the “full size” models.

Yellow Alaskan Cedar, maple fretboard, mahogany sides, and sapele back, cocobolo end piece.

Comfortability while playing an instrument is the number one reason individuals don’t get past certain points in their guitar playing development because their hands hurt after a short amount of time. One of the worst things that can happen to a young person interested in learning to play the guitar is to give that poor soul a guitar that hurts to play. Adults who never learned an instrument and find themselves wanting to learn often buy a cheaper guitar to sort of dip their toe in the pool before diving into serious study. This guitar would be perfect for these situations as would my previous guitar, 005. There is a way to calculate the ideal guitar scale size for any person and that is exactly what I’ll do for you when I make your custom guitar. I hope everyone is having a good Christmas season, a happy Hanukkah, and a cool Kwanza. Here are a few pics of the new instrument.

This is probably the last guitar I’ll make for 2019. I plan to do some home renovation work I plan to build cabinets for at least a partial remodel of my kitchen and also gonna explore some creative ideas for taking out the carpet In a basement bedroom and doing a mixed harwood floor using plywood and scrap wood. Plywood floors are a thing and they look pretty cool. I also hope to find time to do a thorough setup of my fledgling luthier’s shop. Maybe I’ll sit and write a couple of posts thru all of this.

If you are interested in buying this guitar, let me know with a message. $225.