Tag: guitar lutherie course

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Billy’s finished 1869 Francisco Gonzalez classical guitar.

Only days after we began our journey together, it became clear that Corvid-19 was no longer a warning but a guarantee. Billy and I decided we’d continue to do the class. I had some hand sanitizer and we kept our 1 Joey Ramone distance 90% of the time. Last night he took this beautiful instrument to show to his wife and kids: a Spruce top with Limba back and sides and a Brazilian Rosewood fretboard. The guitar was built from plans from the Guild of American Luthiers of an 1869 Francisco Gonzalez classic.


The Guild of American Luthiers has some nice plans to pick from.

I can’t believe we made this. Thank you so much for this amazing experience.

Billy H.
  • Billy tunes his guitar for the first time.
  • Brazilian Rosewood stripe down the back. Limba tone wood and sides.
  • During the last couple of days, there was a lot of sanding and French polishing to be done, so I did a lot of thinking about my next project.
Just like Jeffrey’s classical, Billy’s is only “finished” in the sense that it’s time to let the instrument settle in, then we’ll revisit and do a final, microscopic setup to make it play like a dream.

A bit of a recap on our work together

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 of 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.

As we worked, we realized there was a lot of common ground in our life experiences. Days flew by quickly. Billy said he’d picked up so many skills that would be useful in his daily life and other projects. That is such a gratifying thing to hear as it’s what has been my wish all along from the beginning, when this hole business was just a daydream.

  • Template for the guitar in the foreground, soundbars have been cut and roughly shaped.
  • gluing on the Lower cross strut with hot hide glue.
  • Tranverse braces being carved down to height at the ends.
  • Billy cleaning up the glue squeeze-out with a chisel.
  • With the neck and top joined, Billy chisels out the hide glue squeeze-out.
  • Cleaning out more squeeze-out.
  • How the top is attached to the neck. The block on the far right under the soundboard is there for support, to hold it in level plane with the neck while the glue sets.
Gluing on the soundbars (the five pointy things), then carving them down to the thin tapered look in the last photo is a process called “voicing the top.” In a nutshell, it is an effort to achieve a balance between flexibility and strength. Then, the soundboard and neck are joined.

With the soundboard voicing, we really took our time and did things right. Those tonebars are very important in determining the character of a guitar’s sound. Some have said they could listen to a classical guitar played while blindfolded and name the luthier who built it. Billy and I decided to take an online course together on guitar top voicing.

Then it was time to bend the sides. It was the first time I had ever worked with Limba. I made a form to bend our sides. Heat is applied to the thin piece of wood using a thermal blanket with a temp controller.

This took about a day to make.I could have bought one for several hundred$, but I’m poor, so…….

  • Using clamps to hold the sides in place and square to the soundboard, we installed the kerfing.
  • The limbs kept showing a tendency to crack, so I decided to add a lining around the inside for added strength.
  • Kerfing around the top can be held in place with regular clothespins wrapped with rubber bands around the clamp end for added strength.
  • Billy uses a finger plane, my favorite tool in the shop, to bring the lining down flush with the sides.
  • “Hand made” (en español) is Billy’s inscription on the soundboard. March 2020.
Attaching the sides, the pieces of wood begin to transform into an instrument. Lots of work goes into all the parts and when they begin to become whole, we begin to develop butterflies.

With the sides attached, and glue drying, Billy now has to carve more cross strut braces for the back. The back will be entirely domed in a 25′ radius dish. It’s a process of sanding which involves pushing and pulling the back all around the dish until it takes on the domed shape.

Back to doing one of his favorite tasks in guitar building using one of his favorite tools, Billy uses the finger plane and shapes the braces for the back of the guitar.

Attaching the back……

Attaching the back is always a nerve-wrecking endeavor, at least for me. This time I decided to make some new spool clamps to aid in the process. Normally, keeping the back tight to the body while the glue sets is done using a number of clamps. That number is every clamp you have available in the shop. Plus rope. And a cinderblock on top. Here’s how a made the new spool clamps.

  • Cut a 1 1/4″ dowel into 2x the number of clamps you’re making.
  • Each clamp will be made of a 5/16″ carraiage bolt, washer, and wing-nut.
  • Build a little jig where you can simply place the piece into a corner, drill through it, and voila.
  • Put the pieces in a box of some sort.
  • Carry them upstairs to your little work desk (or TV dinner table, whatever YOU call it) glue cork onto the one of the sides.
  • Trim the cork off flush to the spool with an exacto while you watch the Family Feud channel.
  • When they’re put together, orient the pieces so that the cork sides will be contacting the instrument. I need to make more spool-clamps, about 3x what I actually made.
I had been wanting to make spool clamps all along in my journey through acquiring and making tools for the process. Now, I have some and I know how to make more.

With the back in place, we move on to routing out the channels for binding, which is used to protect the edges of the top and back. Binding is also an area where some luthiers give a special touch, their own signature in the way they pick colours and textures.

  • This is actually the Goya G-10 Jeffrey built, but it shows the routing of the binding channels. It has to be precise or it will be an unpredictable outcome.
  • Also part of the binding and purfling artistry is the addition of an end piece. Here, the area has been routed.
  • To do this work, I made a place to hang the guitar in such a way that I could have easy access to the bottom and with two free hands. It’s two old wooden chair legs with cam clamps.
  • A piece of that Brazilian Rosewood is now the tailpiece.
  • Put into place with hot hide glue.
  • Endpiece in place.
  • Indian rosewood for the binding. Much more tape was used while the glue set.
  • Brazilian Rosewood back stripe and Indian rosewood binding for the back.
  • Lots of stretching tape to its max to hold the binding down tightly.
  • While the glue dries in the binding, Billy does some prep work to the neck, getting ready for the fretboard.
  • With the tape off.
The binding is DONE!! Now, time to use that $125 piece of Brazilian Rosewood to make a fretboard!

Making the fretboard

Making the fretboard is a task. First, usually the piece of wood you plan to use is in the form of a short and slim board, called a “billet.” This particular billet was locked away in a special closet at Carlton’s Rare Woods and Veneers. It has been sitting in that closet since the 1970s. It’s a special collection of Brazilian Rosewood, which is now prohibited from being imported. There are many legal issues surrounding this wood including travel restrictions. Here is a good article on the endangered wood, Dalbergia nigra.

Brazilian Rosewood has a nice fragrant aroma when cut, sanded, planed, scraped. In fact, the tree used to be harvested to make perfume and because it took massive amounts of the wood to extract a tiny bit of oil, the tree became endangered as it was already beloved by luthiers and furniture makers.

Early on in the process, Day 1 I’m sure, we planed this beauty down to be trued and squared in two adjoining sides. This way, it will be cut with precision by the bandsaw. Otherwise, it comes out ugly because the bandsaw will make it wavygravy. Not groovy!

  • Without taking any pics of the fret slot cutting and installation, we were able to get to this point nonetheless.

So the final stage was a lot of sanding, pore-filling, sanding, pore-filling, and. Billy was a great student, a sponge for valuable and pertinent lutherie information. He was eager to learn and do a French-Polish finish for his guitar, which is not normally a part of the guitar building intensive. But, with nothing but time on our hands, I was more than happy to learn it with him. He ended up being my teacher in some moments. Here’s a slideshow.

If you missed it, read part 1 of this story.

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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  South America, it is highly regarded as the best tonewood choice for marimba  and xylophone bones and is often referenced as “La Madera Que Canta” (“wood  that sings”).
  • Mahogany soundboard tastefully paired with granadillo sides and back.
  • Mahoney’s oil wax finish with acrylic paintbrush.
  • Installing the tuners like a pro. A very excited, wired, and sleepy pro.

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.

A very cool guitar. With a few questions and measurements using your thumb and pinky, I can determine the best scale length for your guitar and we can build it to fit your hands!

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.

  • There’s no such thing as too many clamps!
  • Tons of scraping and sanding to remove glue squeeze out and blemishes.
  • Jeffrey’s newfound love: card scrapers.
  • Filing, shaping, sculpting the neck.
  • Applying Mahoney’s Oil Wax Finish
  • Coming down to the finish line around 1:30 am.
  • Cocobolo binding with granadillo back and sides.
  • Mahogany neck and headstock veneers. Installing the tuners.
  • Playing the first chord.
  • Wowee! Look at that beautiful thing. Mahogany top. Granadillo back, sides, and fretboard..Mahogany gives a really special response in the bass range and has been my favorite tone wood.

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.

  • Jeffrey’s Goya G-10 will be made with Grenadillo back and sides. It’s a very hard wood.
  • Refining a piece of mahogany to turn into a guitar neck.
  • On the bandsaw, carefully cutting out the body shape of the back.
  • Carving the heel block at the back of the neck.
  • After much carving and scalloping, the finished soundboard for Jeff’s guitar. Traditional “fan bracing.”
  • Sanding the headstock before gluing on a veneer.
  • Bracing the back of the guitar.
  • After a long battle bending the sides, we were able to attach them to the top.
  • Jeff perform’s a final inspection of our work before heading home to his family.
  • A great eye for detail and a luthier’s patience. This will definitely not be the only guitar Jeff builds.
  • A final cleanup and sanding.
  • Past the halfway point. This is going to be a beautiful instrument.
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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.

  • Jeffrey’s Goya G-10 will be made with Grenadillo back and sides. It’s a very hard wood.
  • Refining a piece of mahogany to turn into a guitar neck.
  • On the bandsaw, carefully cutting out the body shape of the back.
  • Carving the heel block at the back of the neck.
  • After much carving and scalloping, the finished soundboard for Jeff’s guitar. Traditional “fan bracing.”
  • Sanding the headstock before gluing on a veneer.
  • Bracing the back of the guitar.
  • After a long battle bending the sides, we were able to attach them to the top.
  • Jeff perform’s a final inspection of our work before heading home to his family.
  • A great eye for detail and a luthier’s patience. This will definitely not be the only guitar Jeff builds.
  • A final cleanup and sanding.
  • Past the halfway point. This is going to be a beautiful 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.
Flyers for the classes.
005
006
003
001
004
Unique instruments. Let’s add your guitar to this gallery!!

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 easy as pie to play, then what is it worth to you? I’ll tell you. N-o-t-h-i-n-g. Save your time from going on a fool’s errand. 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 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, etc. 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 and setups, my skills and my methods. But this class is NOT about how to run a “successful” business.
  • This is not a “kit” build. We will cut everything ourselves.
  • 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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A Christmas Day surprise for one of my students. His is a very unique classical guitar with Mahogany top, grenadillo back. sides, and fingerboard with rustic-vintiquey tuners.

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.
You will learn, build, then play your very own hand-crafted classical or crossover guitar.

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  SIDES: mahagony, Spanish cedar, padauk, canary wood, curly maple, or maple. BACK: mahagony, Padauk, or Spanish cedar. NECK: mahagony or Spanish cedar. Fingerboard: Ebony Macassar, Bolivian Rosewood, Canary Wood, Cocobolo Rosewood, or Padauk. Tuners: Golden Age Classical, Strings: of your choice, Rosette: traditional 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).

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 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.

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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. For this reason, I don’t offer full refunds. To qualify for my 50% refund guarantee, you must follow this simple set of expectations:*

  • finish the course
  • do the work as described. I’ll be teaching you the way I build guitars using methods I’ve learned in my own workshops. If you want to take a radically different route from one of my traditional methods, this will forfeit the guarantee.
  • have all major work tasks signed off on, approved by me (the instructor) as an ongoing record 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

*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.

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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.