We are super excited to now be working with Larry Brown, a.k.a Lawrence K. Brown. Larry has been building for decades and has likely built more instruments than most luthiers today. Larry was the head of the Lute Society of America, has crafted violas and cellos for orchestras, and built many guitars along the way.
Mr. Brown is one of the best kept secrets of the Carolinas and we are now proud to announce our partnership with him, offering six incredible guitars from L-00 copies and Dreadnoughts to SJs and Classicals. Larry builds amazing vintage inspired instruments such as the Martins and Gibsons of old but with a great modern twist of an adjustable neck design. The adjustment of one screw on the guitar can change the angle of the neck very easily and will never require a neck reset. This is a great feature for touring musicians dealing with the elements. With a few adjustments in minutes, perfect action can be achieved.
This is what Dream Guitars is all about. We get the amazing luxury of bringing a gem of a builder like Larry to a new audience of players and collectors across the world.
Watch the brief interview above with Larry and Paul discussing building, Larry’s prolific history, playing, the Asheville area, and more.
Also click here to see what’s currently in the shop from Larry. We hope to have more guitars from Larry in the near future but if you’re interested, act fast. They’re not hangin’ around here long!
https://cdn.dreamguitars.com/2021/06/vBB0vtWB-brown2.jpg9001200Scott Bresnickhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngScott Bresnick2019-06-21 12:13:572021-06-30 14:02:59Dream Guitars: Larry Brown’s Sole Dealer
We’re proud to announce that Dream Guitars has teamed up with Raymond Kraut as his sole representative for North America. To celebrate the occasion, we sat down with Ray for a chat about life & lutherie, how his career has evolved over time, and what we can look forward to in working so closely together. We’ve also got two brand new Krauts, an OM and a Mod D, that are, as of this writing, available for purchase, which you can find here: https://www.dreamguitars.com/shop/builders/kraut.html.
LW: I’d like to start with a bit of a then-and-now question. You’ve been on the lutherie circuit for some time. In what ways do you feel you’ve progressed since embarking on this career? In your eyes, how has Kraut Guitars evolved over time?
RK: I’m always changing and evolving, be it in design or engineering. I’ve always loved the tone of what has now commonly been described as “Somogyi-esque,” and have always been pleased with my ability to achieve it. However, I’ve always strived to find ways to make a guitar of this style lighter. Through the years I have done just that by way of using removable neck systems so as to build lighter headblocks, and now I use high-quality Port Orford Cedar interior laminates because of its lightweight and stable nature, rather than heavier alternatives like Rosewood. I can’t say it’s one thing that has allowed me to achieve this, rather, many smaller things which overall make for a significant difference in weight and comfort. Stylistically, I will always be evolving. I can’t seem to sit still on certain design elements, which always keeps me moving into other directions, be it with material choices, color or different ways of playing with line values. It’s really quite exciting for me and also makes me particularly skilled at inlaying in this manner. Every rosette or inlay, I seem to learn something new. I consider my work, in almost every aspect, to be constantly evolving from one guitar to the next.
LW: What lessons did you take away from your apprenticeship with Ervin Somogyi?
RK: Geez. Hard to list them all. I remember leaving Roberto Venn thinking that I knew all I needed to know about building guitars. I thought I would apply for Ervin’s apprenticeship despite this, just to see what it was like working in a professional shop and because one of my previous teachers strongly recommended it. The wealth of knowledge that Ervin has then far exceeded anything I could have ever imagined. I walked away with the equivalent of a Harvard education. It wasn’t just learning about the ins and outs of guitars, but life as well. Ervin changed everything for me, from understanding what a good guitar can be to open my eyes to the world of art and how important it can be in life. I had worked for Ervin for about a month before I ever had a chance to play one of his instruments. I remember fondly of how I almost dropped one of his guitars the first time I hit a chord on it as it in every way shocked me. Up until that point I coveted the guitars I grew up with thinking they were my holy grail guitars. Nope. Not anymore. So I walked away with an education on a whole new way of thinking about the construction of a guitar. One that allows the instrument to move and sound optimally to any style of playing. I also walked away with a much greater understanding of line value that continues to inspire me today.
LW: Besides Ervin, which other luthiers do you feel influenced by?
RK: It seems today that there are many luthiers trying new things to establish their own unique styles, something that sets them apart from the growing number of people entering the field. When I first started making rosettes that weren’t your typical ring, my teacher, John Reuter, introduced me to the work of Michihiro Matsuda. I’ll never forget Googling him when I got home from school and seeing his gorgeous masterpieces. I said to myself, this guy is expressing himself the way I envision a guitar to be. Not only a guitar but a visual piece that inspires. I have always been a great admirer of his work! I believe that being inspired by the instrument you play helps to open new doors as a musician.
LW: In your opinion what separates you from the pack of strong, young luthiers these days?
RK: It’s been interesting to see this field evolve over the years. I remember being the youngest luthier for a long time up until recently when its seems hordes of younger luthiers have found the joys of this craft. Many younger luthiers are clearly inspired by the works of both Michi and myself. A large difference I see is that many of them take designs from others that aren’t uniquely their own. I always want to encourage others to be inspired but to find their own voice in design. It’s tough to do. Every student I have had come to me wanting to do interesting inlay designs all started off making what were practically identical designs to mine. As flattering as that is, I would have them draw as many different styles over and over again until they think of something unique. It can be frustrating but in the end every one of them has crafted a design that is truly their own and honestly, really amazing! Aside from the obvious visual differences of my instruments, very few have had the opportunity to study with Ervin. I have never taken for granted the fact that I had the distinct honor of studying with Ervin, and it’s that knowledge I obtained from him that puts me in a different tonal spectrum than many other luthiers today. Experience in this craft isn’t something you can teach: it’s something you earn over time. When I see the new builders at shows, it makes me a bit nostalgic. It’s like looking back in time. More than anything, it’s my experience and maturity in my craft that set me apart.
LW: You’ve managed to move through several shop spaces while maintaining your workload. Why the moves, and how did you balance that with completing orders?
RK: Ugh. Yes, I have had many shops. More than any luthier I have known. I guess it was just life and a world of unforeseen circumstances. The first shop I opened up in Springfield, OR I leased from the city. It was a very old building that sat above a mill race (a small river used for the logging industry). Only a year after setting up shop there, the city passed a new bill that would require tearing down that building for the sake of salmon habitat. That was quite a blow to me, having just settled in. They were good to me though, and offered me a larger space close by. Three years I spent in that shop before deciding to move my shop into my house. Subsequently, after one year of being there I bought another house and I had to move once again. After a couple years there, I needed more space and found myself renting a large space outside of Eugene for some time, only to fall victim to the marijuana scene. By that I mean it was legalized in Oregon, and all of a sudden there was a strong demand for space. Owners of these buildings were selling out left and right to the pot business, and many small business were getting the boot so the newfound owners could have more room for growth. I finally decided to make a big change, one that would allow me enough space and security that I wouldn’t need to move ever again. My wife Allyson and I purchased acreage just north of Tucson, AZ where we have began construction of our dream shop and house. As tired as I am of moving, it has been a great benefit for me. It’s made me greatly aware of space and its value. I feel I could be an architect for all the considerations I have learned over all my moves. Who knows, maybe I’ll write a book someday on setting up the luthier’s workshop!
LW: Now that you’ve settled into a groove, what projects of late are you the most excited about? What aspects of your most recent orders have you found most inspirational?
RK: Honestly, all my work is inspirational to me. In a way, I designed it that way. Every design on my guitars is unique, so every guitar has something new that keeps me excited, one after the next. That being said, I have recently made a decision to start building a couple of guitars that go beyond my usual style. I have some unique designs coming up that defy what we think of as a normal guitar, and of course I’m excited by those!
LW: I’d like to change gears here a bit to discuss our new arrangement. First, we’re grateful and honored to be your sole dealer in America, and we’re excited to see where we can take Kraut Guitars. So. What led you to shift your business model toward a sole dealership?
RK: As previously mentioned, I have a lot of experience in this field. Not all of which has been good. I was never trained to run a business. I was trained on how to build some of the best guitars in the world. Building guitars is where my passion is, and over the years I have found myself having to put up certain boundaries to maintain that feeling. This was an interesting learning experience for me, as I find myself very much in love with building guitars and therefore it’s personal to me. With all the recent changes in my life, I now, more than ever, believe in finding a good balance to life in every outlook. The most important thing to me in my working life is maintaining my passion for the craft, so I decided to focus all of my time on building and new ideas. In order for me to have this time, it was best to reach out to someone I trusted to represent my guitars for me.
LW: In working exclusively with Dream Guitars for the North American market, how do you predict your process and workflow will evolve?
RK: I believe this gives me more time to evolve as a luthier. I’ve spent so much of my time handling non-guitar building things that now I will have more mental space to do what I do best. I have so many ideas that I would love to bring to the playing world, and more than anything that is what I aspire to. It’s important for me to not only imagine but to create.
LW: Any other thoughts you’d like to share?
RK: After my apprenticeship with Ervin, I really became aware of how important it is to pass along the knowledge we’ve spent a career procuring. After reaching ten years in the business, I decided to open my doors to anyone interested in apprenticing with me. I felt a need to start passing on my knowledge, and this has allowed me to find yet another joy in my world through teaching. I have had the pleasure of teaching quite a few students, all of which seemed to absorb what I taught them and have really made strides in developing their own unique craft. I hope to do this more over the years so long as I can convince others to come live in the beautiful Sonoran desert!
We’re excited to announce our latest partnership with Dion James of Alberta, Canada, with an incredible No. 4 model in Birdseye Maple & Italian Spruce. Dion’s guitars let the quality of the materials, and the skill of the craftsperson, speak for themselves. These instruments have modern curves, and are intimately familiar to the ears as well as much as the hands. Dion was kind enough to chat with us a bit about life and lutherie; read on for a better understanding of the man behind the guitar, and check out our No. 4 here: https://www.dreamguitars.com/shop/2019-dion-04-european-birdseye-maple-italian-spruce-29.html.
LW: Who are some of your favorite guitar players? Have you built instruments for any of them?
DJ: Hmm, that’s a tough one. There are so many good players out there. I’m a big fan of Nick Drake, he had such an interesting approach to the acoustic guitar. I think Johny Greenwood of Radiohead is a genius, such a subtle touch with no ego attached to his playing. Will McNicol is a great player and composer. I’m a big fan of Tom Brosseau, and was lucky enough to have him tour with one of my guitars, in fact it’s the second of the two guitars available through Dream Guitars. Tom and I are in conversation about building him a signature model in the future, fingers crossed we’re able to make it work.
LW: Let’s talk wood. What are your favorite tonewoods to work with, what makes them suited for your particular style?
DJ: My favorite tonewood changes all the time. At present I’m smitten with Maple. I build using a Nomex-centered, “hollow core” back, which creates a very loud guitar with tons of sustain. As such, I prefer lightweight woods as they add to the quickness of response. Of course, different players have different needs and I employ the proper tonewood for each client.
LW: Please describe your goals in voicing an instrument. How did you first find your voice, and how do you continue to experiment?
DJ: I use a symmetrical bracing pattern and employ many small braces, with the goal of even distribution of stiffness. I use deflection testing, frequency testing, and good old feel to bring my guitars into their final shape. I’ve been pushing towards my voice for over a decade now, and it was about four years ago that I really found my sound. I would describe my voice as sweet, voluminous, even, and articulate. At this point the bones of my instruments are pretty set, though I’m always tweaking the details. As of late I’ve really been pushing away at the perimeter of the soundboard, decoupling braces from the rim, allowing the soundboard a greater range of motion. I can get away with this loosening of the soundboard structure because of my very rigid rim and upper bout. These structural elements free the soundboard from some of its load-bearing duty, allowing it to be optimized to the movement of air and thus the production of sound.
LW: Where do you think your building style will take you in the next five years?
DJ: The guitar is made of so many little decisions, each time I reach my goals a new level of detail appears. I’d say that the next five years will take me deeper into the minutiae, with a focus on continuous refinement. My instruments, by design, are free of heavy ornamentation. I’ve always focused on structure, lines, and continuity. I suspect the next five years will be all about refinement, of both sound and design, and working on things I can’t yet see.
LW: Any interesting facts about your technique or shop arrangement that you’d like to share? Photos always welcome.
DJ: Certainly. I would describe my technique as a blended model, never purist. I believe in accessing the history of vintage instruments, taking the positive and modifying where we’ve acknowledged structural flaws. I use hand tools, because I love the process and because they are often the best tool for the job, but I’m not afraid to employ the accuracy of a machine. A good machine can save time and energy, freeing me up to focus on the elements that are most important.
In terms of shop arrangements, I share a shop with other builders, and always have. The cross pollination, even between the experienced and inexperienced builder is so valuable to my process. I’ve got something to learn from everyone.
LW: What do you enjoy doing outside of building instruments?
DJ: I’m a person of many interests. I’ve had to pare things back because I’m also the kind of person who want to pursue things to the tiniest detail, and that requires more time than the days and weeks offer. Gardening is a great passion of mine. My partner and I grow and preserve a lot of our own food. I’m a year-round cyclist, and I love riding my skateboard. My partner is pregnant and I anticipate great joy in spending time with our child!
LW: If you had not become a guitar maker, where do you think life would have led you?
DJ: I’m certain I’d still be self-employed. Having grown up on a family farm, the concept of having a boss is fairly foreign to me. I’d likely be an urban farmer. I’m endlessly fascinated by the untapped potential of the urban landscape to produce food and the healthy relationships that come from the attachment to one’s sustenance.
LW: What music are you listening to right now?
DJ: It’s all over the place, but I’ve really been into 80’s and 90’s female-fronted R&B lately. Sade, Janet Jackson, etc. So good!
LW: If you could choose only one tool to work on guitars, what tool would that be?
DJ: It’s really hard to beat the feel of a well-honed plane, probably my Lie Nielsen jointer plane.
https://cdn.dreamguitars.com/2021/06/CU9XyfA8-dion-james-joins-the-dream-team-2019-5.jpg8591200Logan Wellshttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngLogan Wells2019-04-24 15:46:362021-06-30 14:00:30Dream Team’s Dion James
Reno, Nevada-based luthier Ben Wilborn has just embarked on an epic build–coming soon to a Dream near you. This time we’re looking at Ben’s Modified Dreadnought, his WarHorse model, with Brazilian Rosewood carbon dated to the late 19th century and Tunnel 14 Redwood on top. Add to that a cutaway, arm bevel, Curly Koa bindings, 25.4-24.9″ multiscale fretboard, and Visesnut flight case to the mix; if there are any stops left to pull for this build, it’s only a matter of time until Ben finds them. As he does, and the WarHorse approaches, we’ll keep you posted here!
3/27/19 Update from Ben: “the laminated sides are done, and built up into the finished ribs, complete with basswood arm bevel support and Kevin Ryan’s A-5 kerfing. The fingerboard is jet-black Gaboon Ebony, cut in a 25.4 to 24.9 multiscale. Moving right along.”
4/29/19 Update: Ben: “Woodworking is done. Into the booth we go!”
7/1/19: Nearly here! The WarHorse rises up, freshly glossy. It won’t be long before this beauty touches down at our doorstep.
Michihiro Matsuda stands at the top of the food chain when it comes to innovative lutherie, functional works of art, and a visual aesthetic eons beyond the ken of many of us. Matsuda has built numerous guitars for our clients over the years, each one a testament to his unique flair and spirit of experimentation. Some of those clients, having received one work of art from Michi, are so enthralled they commission another on the spot. Here for our latest collaboration with Matsuda, we’ve got an electric guitar on the bench that we’re confident the world has never quite seen before. Please keep up with our updates as Matsuda progresses in the build, and you’ll definitely want to check out our listing once the instrument is finished and we can showcase it in style! Are you excited yet? Cuz you should be. Stay tuned!
Here’s Michihiro’s premise:
“It is going to be a one-of-a-kind acoustic/electric, something in between my archtop guitar I made in 2017 and my deconstruction guitars. It will also be a sculptural piece of art. The top is hand-carved Sitka Spruce. The body is partial sides, and partial hand-carved back. I will use figured Maple for that. The basic tonal idea is the same as my deconstruction, so there is no sound box. I will use figured, tempered Maple for neck, and Mahogany with some Rosewood for main structure of the body. I will use two humbuckers. Controls will be simple: one volume, one tone, and one pickup switch. I am also going to design a new style of bridge.
It will not be an archtop guitar, not a solid-body, not a hollow-body electric.”
12/11/18 Update: Coming soon to a Dream near you! We’ll do a full work up with pics and video once it’s in hand.
Peggy White’s been hard at work yet again, this time crafting her Premier model with a jaw dropping set of Amazon Rosewood for the back and sides and Italian Spruce on top. Manzer body wedge for player comfort, and the next Kandinsky-inspired rosette (here in Ebony, Koa, and Maple). You can see this beauty for yourself at the 2018 La Conner show, so keep your eyes peeled!
https://cdn.dreamguitars.com/2021/06/dTyamkn3-peggywhiteamazon8.jpg20481814Logan Wellshttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngLogan Wells2018-05-08 18:21:472021-06-30 13:57:03Peggy White Premier Goes Amazon For 2018
We don’t rest on our laurels, and neither does Bill Tippin. Bill just finished the latest Al Petteway Signature model, which we sold in a few days, and the next week we went ahead and locked in the next build for one of our clients! Bill is already hard at it! Here’s a couple of preliminary photos, and stay tuned for more as Bill moves through the building process.
Tippin AP Brazilian back place
Tippin AP Brazilian headstock overlay, Abalone trim. The inlays are only resting on top, they haven’t yet been installed.
Tippin AP Brazilian headstock overlay, Abalone trim. The inlays are only resting on top, they haven’t yet been installed.
Tippin AP kerfings installed
1/8/18 Update (Bill’s cranking away!):
Brazilian Rosewood back braced with Spruce
Center strip inlay with a twist.
Rim assembly showing the arm bevel from below.
Rim assembly showing the arm bevel from above
4/11/18 Update: We’re very nearly there! Bill’s finished construction, and it’s in finish now. Here’s a few shots to tantalize you.
Fresh, clean, contemporary lines.
Gorgeous pairing of Abalone and sapwood
Neck carve on the jig
Close up of the neck pocket and cutaway
Close up of the neck pocket and cutaway after the bevel has been added
Bill’s signature soundport
Our client wanted a reminder of his mother inlaid into the guitar. Bill threads the needle, so to speak!
This is one of my favorite parts of the business: working directly with our builders to come up with an exciting instrument just for Dream Guitars! Stuart Day recently joined our ranks, and to commemorate the occasion I had a chat with Stuart about life & lutherie, which you can find here: https://www.dreamguitars.com/welcome-aboard-stuart-day-newest-builder-joins-dream-team/. Stuart’s busy building us our first Day OM, which will feature some of his latest design features. I’ll keep you all posted as the SD1-VC build progresses, see below for specs.
SD1- VC (OM – Venetian Cutaway)
Back and sides – Cocobolo
Top – AAA Sitka Spruce
Neck – Honduran Mahogany
Fretboard, headplate, bridge – Gaboon Ebony
Tuners – Gotoh mini 510s
Binding – Ebony
Cocobolo back and sides
Cocobolo back and sides
Cocobolo back and sides
Stuart’s rosette and headstock design
Shooting board for truing up the segments for the rosette
https://cdn.dreamguitars.com/2021/06/fqAvvZQW-stuartdaysd1-vc2018build8.jpg960960Logan Wellshttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngLogan Wells2018-02-06 16:46:052021-06-30 13:36:52Incoming: Stuart Day SD1-VC Build Thread
To everyone who’s bid on a charity guitar, everyone who’s gotten the word out to lend a hand, everyone who’s just donated straight to the cause—Dream Guitars thanks you from the bottom of our hearts. We’ve been able to raise thousands of dollars for Puerto Rico hurricane relief, to support hurrican soup kitchens in Houston, Texas, and to help fight the forest fires plaguing California. But the fight is far from over! We want to wrap up 2017 with a strong display of solidarity for these and other causes. This time we’re auctioning three guitars at once! Help us help those in need, and get a great deal on a unique instrument in the process. These auctions are open until 12pm EST December 17th in order to make sure everyone has a chance to bid.
A Brand New Ribbecke Halfling to support the Santa Barbara Acoustic Instrument Celebration (SBAIC) &Celebration Lutherie Education Fund (CLEF) in its efforts to support music education and provide instruments for disadvantaged and disabled youth. This guitar was originally $14,995, but bidding starts at only $8,995. 100% of the net proceeds from this sale are fully tax deductible and will be used entirely for non-profit benefits. https://www.dreamguitars.com/shop/brand-new-ribbecke-halfling-indian-rosewood-cedar-1191.html
A 1997 Linda Manzer 12-String for the California Fire Foundation in their unflagging work to support the brave people risking their lives to contain the fires raging in California. This guitar was originally $12,495, but bidding starts at only $8,495. https://www.dreamguitars.com/shop/manzer-12-string.html
25% of each winning bid will go to the corresponding organization as a tax deductible offering for you. Please email bids to [email protected], and we will keep you informed as to the current bid during the auction. This auction is scheduled to close on 12pm EST, December 17th. Domestic bidders only, thanks.
https://cdn.dreamguitars.com/2021/06/CAVRIgEb-2017-Season-of-Giving-Charity-Auctions.png10801080Logan Wellshttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngLogan Wells2017-12-07 16:53:112021-06-30 13:31:012017: Season of Giving Guitar Auctions
We’ve all heard the phrase “The Golden Age,” which is defined as “the period when a specified art, skill, or activity is at its peak.”[i] Lately the term has been used to describe this epoch in the history of guitar-building (lutherie). From the unique vantage point at Dream Guitars (www.dreamguitars.com), they couldn’t agree more: today we are definitely in the middle of the Golden Age of Lutherie, and Dream Guitars stands at the center of this renaissance.
“I have had the chance to play spectacular examples of instruments from the late 1800s and the first half of the 20th century. Many consider these early guitars to represent the “Holy Grail” of guitars, but I truly feel that the explosion of the independent guitar-maker has challenged this conception. There’s no doubt that some of the pre-war guitars are among the best instruments on the planet today, but now there are dozens of contemporary makers whose instruments rival, and sometimes even surpass, these ‘Holy Grail’ guitars–and their talents continue to improve on the best ideas of yesterday.” – Paul Heumiller, Dream Guitars owner
“We are very proud of our role in these great days of the guitar. From the very beginning, it was a sincere goal of mine to help luthiers market their craft. In the early days as I visited shops and got to know these great people, their passion and artistry captivated me and I wanted to be a part of their success.”- Paul
Dream Guitars has built a platform for luthiers to successfully market their work, which is backed by Dream Guitars’ reputation for expertise and honesty–allowing a maker’s instruments to be seen and heard by people all over the world. “We have been able to help many luthiers to not only find homes for their instruments, but also to increase their prices to provide fair compensation for the years invested in their craft.” -Paul
Like everything in the modern world, easy access to information, including books, videos, symposiums, guitar shows, and training courses has expedited the growth of talent in the guitar-making world. But there’s something more than simply the proliferation of information at play here: something special has happened in the acoustic guitar world in particular. Paul: “Many of the older guitar builders talk of a time not so long ago when everyone guarded their secrets, but they all agree that somewhere along the line everything shifted. In the last 25 years or so, guitar-makers have opened up to each other–and that sharing is, in my opinion, the impetus for our current Golden Age.”
Paul continues, “I get to spend a lot of time with guitar makers at the various showcases around the world, as well as visiting them in their shops. Time and time again, I hear stories of how one builder has advised or inspired another. They speak of each other in reverent tones, each one wanting to raise the bar, but do so with the utmost respect for their contemporaries. They all want to see the craft itself improve, and that’s what’s truly special about what’s going on now in 21st-century guitar building.”
Another obvious trend is this year a number of new guitar-makers are on the scene. There are now hundreds of independent guitar-makers hanging their shingles outside of shops which range from the corner of a basement to 5000 ft.² master shops. As a result, some say the market is flooded with too many new makers. At Dream Guitars, they see both sides. Dream Guitars is constantly approached by new makers wishing to promote their instruments with them. Most of the time, Dream Guitars demos and critiques their instruments and advises possible improvements where they simply haven’t mastered the craft yet. Occasionally a builder shows tremendous promise and Dream Guitars offers to work with them and continue to offer valuable insights along the way so they can blossom. Paul: “One thing I see a lot are makers whose first few guitars look beautiful, but they haven’t yet found their voice. By that I mean they’re building a guitar that is perfectly beautiful and functional but sounds no better than an inexpensive guitar off the rack at any big-box store. They’re missing what I call the ‘White Magic:’ that builder’s unique voice which makes a guitar inspirational. Master Luthier Ervin Somogyi once told me, “The first fifty guitars you’re just gluing wood together.” There’s something to be said for that: it’s the years of experimentation and feedback from great players that keep a builder striving and searching for that intangible something that makes one guitar better than the others.”
This is evinced by the handful of makers whose order books are strained by ten plus year waiting lists, or whose guitars finally fetch a price that’s commensurate with the years of work they’ve put into their craft. These are the instruments that collectors covet and professional players are inspired by. These are the ones that define the Golden Age of Lutherie–the guitars that they will be talking about for the next hundred years.
Dream Guitars was perhaps the first website on the Internet to record every instrument that they offered online. They have now amassed a library of over 5,000 recordings of the finest hand-built instruments in the world. They have also created a Listening Studio which allows anyone to search their library of recordings by a myriad of guitar specifications, and use the recording to educate themselves about various makers, woods and general guitar differences. Dream Guitars has also created video interviews of many of today’s makers, either in their shops or at trade shows. All of this footage is available for free on their website.
Dream Guitars owner Paul Heumiller is one of the premier experts on acoustic instruments. While not an active luthier, Paul has studied guitar-making with Kent Everett of Atlanta, Georgia, and has performed shop repairs at Dream Guitars since the beginning of the company over 18 years ago. Heumiller has also been the only shop owner to be on the board of A.S.I.A., the Association of Stringed Instrument Artisans. Paul is also a professional musician who has spent many years performing and teaching Fingerstyle guitar. He has been quoted in numerous publications and books. Recently, in 2015, Acoustic Guitar Magazine printed a two-page article, “Dream Weavers,” on Heumiller.
https://cdn.dreamguitars.com/2021/06/DG_logo_white_MASTER_72.jpg76281Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2016-01-21 05:00:002021-06-30 13:27:39Dream Guitars & The Golden Age of Lutherie
We are pleased to add EddieLee Brown to our line-up of builders here at Dream Guitars. Let’s get to know more about this great up and coming builder.
EddieLee Brown’s first love is music. He played guitar and bass in a traveling rock band in the 70’s. More recently he has fallen in love with fingerstyle guitar playing. “Whether playing electric or acoustic, for me, tone is everything. I have always worked hard to develop a great tone as a basis for playing any instrument,” states EddieLee.
EddieLee has also been a photographer, a Bonsai artist and landscaper, and studied drawing. Each of these helped him develop a sense of design, proportion, and what is pleasing to the eye. He practiced as a Doctor of Oriental Medicine helping heal people with acupuncture, massage, and herbal medicine. This helped him develop a sensitivity of touch and understanding that one part of a system will affect other parts. EddieLee also has a master’s degree in electrical engineering with a strong background in physics and mechanical engineering. He loves physics and determining, from a scientific view point, how things work. This helps him be able to predict how a system will behave when one part of it is changed.
New ELB Guitars OM1937M-D
Brown had a nice stable of electric guitars and basses from his band days in the 70’s and 80’s but in the 2000’s, he found himself playing his acoustic guitar most of the time. When he decided to upgrade his old acoustic, he found the world of hand-built guitars. “The first time they handed me one, I could not believe the difference, and it changed my world. I bought a Goodall Rosewood/Red Wood, Grand Concert and fell in love with the guitar all over again. After playing and hearing the great tone and feeling how responsive it was, I would just stare at the beauty of the wood, design and construction. That is when I got the desire to start building,” quotes EddieLee.
EddieLee has now been building guitars for about 6 years, although he had studied guitar design and preparing a few years before that. He also spent time prior to starting his first guitar honing the woodworking skills he would need to produce great looking instruments. The first instruments he built were Native American Flutes which are wooden flutes. EddieLee has been playing these for many years, and loved the instrument. Their construction uses many of the same techniques and skills used in guitar building, so it seemed like a good “warm-up instrument” for him. “They are so much fun to make and I love the feedback I get from people when they get them in their hands. Guitar building followed soon after. It is a real joy to turn a pile of wood into a beautiful instrument and then hear other players make beautiful music with them,” says EddieLee.
Mahogany back of a ELB Guitars OM1937M-D
In EddieLee’s building style, he works to combine elements from his past careers. “I think there is real value in mixing together the old methods using touch, feeling, and tapping and meld into that the newer science to produce a very vibrant instrument with great tone”, quotes EddieLee. Among others, he is currently using Chladni patterns, along with traditional methods, for sound board voicing. He also uses techniques to produce spectrographics of the sound produced by tapping the guitar and its components during the build process. This tool gives a visual and measurable representation of what he hears when tapping the guitar. “Although it can never give me all the information that my ears can, it does allow me to see the frequencies of the main vibration patterns, allowing me to adjust them precisely. I believe these and other science based ways of measuring and determining how the guitar is operating, lets me produce an instrument with better and more consistent tone. And for me, tone has to be there” quotes EddieLee.
Outside of building guitars, EddieLee Brown is still a musician. “I play mainly fingerstyle guitar but still love to get an electric now and then a fire up the old Mesa Boogie Mark IIC”, says EddieLee.
“EddieLee is one of the guys you meet and just know that he builds a great guitar. He came to lutherie later in life and brings all his vast experiences to a new form of expression, the acoustic guitar. I was so impressed with the tone of his instruments that I broke my own rule of waiting until a maker has built 20 or more guitars. EddieLee has some special design elements as well like internal mass elements to manipulate the character of tone. Very fresh and exciting” – Paul Heumiller
https://cdn.dreamguitars.com/2021/06/Ru6VPutI-20140912_201757-scaled.jpg25601440Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2015-10-19 04:00:002021-06-30 12:55:14A New Addition to the DG Line-up: EddieLee Brown
The 2015 Memphis Acoustic Guitar Festival was great fun. I always look forward to the custom guitar shows as it affords me a chance to catch up with the many luthiers I am honored to call friends and see what wonderful creations they are developing as time goes on. This year I traveled to the show with Scott Bresnick, who works with me here at Dream Guitars. What follows is an understanding of what goes on at the shows, the story of a few guitars that truly impressed us, and some insight into the people who build these great guitars.
A custom guitar show is special in that you have the opportunity to play two, three or perhaps four guitars from each of the builders in attendance. Many of these guitars are custom-made for sale at this event. Others are already sold but they afford you a chance to hear multiple models and wood combinations at one time. That is what makes this type of show so special. Aside from visiting a shop like ours, it’s very hard to find all of these makers in one place. The 2015 Memphis Acoustic Guitar Festival consisted of one large hall that housed all of the luthiers and their instruments. Just outside this hall were other rooms for demoing guitars and additional smaller rooms with concert stages for demo concerts, workshops and listening concerts. There were also a handful of vendors, tone wood suppliers and manufacturers of guitar related accessories.
We arrived just in time on the first day to catch our own Al Petteway in concert. He played a rousing set of new material featuring many of the songs on the “Dream Guitars Vol. II: Hand-Picked” CD. This is a wonderful new album that features Al playing his and my favorite guitars that we pulled right off the walls at Dream Guitars. We also have a tab book for the entire CD and are producing video lessons for every song as well.
We have been working with many of the luthiers that attended the show for years. They’re always coming up with new designs, bracing changes and appointments, so it is always exciting to see their latest work. You can see a full list of the builders that attended the festival here. One such Builder is Thomas Rein, who recently revamped his bracing to incorporate a U-shaped brace on the lower bout. This guitar was my very favorite at the show. The tone was so round and lush while articulate and soul shaking. You can see this Thomas Rein guitar on our website complete with a video by Al here. We also interviewed Tom about his process and discovery of his new tone.
It’s no surprise that most of our other favorites at the show were the builders we already work with such as Bill Tippin, Bruce Petros, Brian Applegate and many others. I’ve been discovering and selecting builders at shows like this for many years. We are always on the lookout for a builder that is new to us and one that we believe our clients will find inspirational. This year I met Brad Daniels of Oxwood Guitars, Isaac Jang, Joel Michaud and several other rising builders that truly impressed us. We have invited each of these builders to make guitars for DG, so keep an eye (and ear) out for more on these folks.
There are also other builders that we meet at these types of shows and decide are not for Dream Guitars. We try to stay very true to what our clients expect, which is the best of the best. So for some luthiers at these shows, we provide constructive and honest feedback in hopes they can improve in time. An unseen part of what we do at Dream Guitars is to advise newer luthiers and tell them what areas of construction and tone they need to keep working on. We stay in touch and if they reach the level of expertise we require, we then begin to represent them. We truly enjoy supporting builders of every level and helping the overall craft.
Many of the attendees at the show are longtime clients and friends of the shop. We would stop in the hall and compare notes about what builders we’re enjoying at the show and the overall experience. One of my longtime clients commented that he loves coming to our shop because it is truly quiet, as we give each client a private appointment time. While the shows have quiet rooms, they are not that quiet. Often you are playing with two or three others in one open room and hotel conference rooms do not sound very good.
Scott and I brought along a video camera and throughout the weekend interviewed a number of the builders at the show. Our intention was to ask them questions to provide you with some insight into who these men and women are, and of course there is some guitar design discussion as well. We are after all guitar nuts, just like all of you. All of these videos can be found below and are also be available on our YouTube channel and featured on our website. We hope you find these entertaining and informative:
https://cdn.dreamguitars.com/2021/06/memphis-logo.png304235Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2015-07-20 04:00:002021-06-30 12:55:12A Great Weekend in Memphis
Ben Wilborn is one of the builders that we have recently added to the array of fine builders that we represent at Dream Guitars. We receive numerous requests from builders, new and established, to be part of Dream Guitars. It’s very humbling to be the ones that they wish to represent their work. In the case of Wilborn guitars, we invited him to send us an example of his work because tone is the first thing we always look for in a new luthier’s instruments. It only took about 20 seconds to figured out that Ben knows how to get tone out of his instruments. We were also smitten with the fit, finish and overall design of his guitars – very elegant, leaning towards traditional but definitely having his own style…and so began our association with Ben.
We at Dream Guitars are known for commissioning unique custom instruments for clientele as well and we were excited to see something even more artistic from Ben. As a result, Paul Heumiller, owner of Dream Guitars and Ben went to work to decide on specs for a custom Wilborn parlor guitar. “I love to work with builders on custom instruments. Having seen thousands of guitars helps me develop an intuition for both stylistic and practical features on the guitar. At the same time I love to leave room for a builder to express himself. So Ben and I collaborated on a number of design elements in this parlor guitar, but then I left him to do the rest. I can’t wait to see the final instrument as I know it will be both beautiful and expressive aesthetically and musically.” – Paul Heumiller.
This incoming Parlor will feature Brazilian Rosewood and Vintage Sitka Spruce cut in the 1960s, Leapordwood Bindings, Brazilian Rosewood Fretboard and Bridge and a short scale, 12 Fret Neck. Yummy!
https://cdn.dreamguitars.com/2021/06/UZGgx4zB-al-wil1.jpg310475Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2015-02-17 05:00:002021-06-30 12:55:06Dream Guitars adds Ben Wilborn to its Array of Fine Builders
Since the day I started Dream Guitars I’ve always wanted it to be more than just a guitar shop selling instruments. The sense of community and the shared love of music is one of the reasons that I got into this business and it’s what keeps it so enjoyable for me year after year. All of the wonderful instruments that we sell are for one purpose which is to make music which in turn makes the world a better place. I truly believe that. To that end we have always offered inspiration in the form of our Listening Studio, concerts, performance videos and lesson videos on dreamguitars.com.
Many clients are surprised when they realize how many lessons we have actually produced over the years. We have over 40 free lessons on our website and YouTube Channel today by such artists as Al Petteway, Steve James, Vicki Genfan, Clive Carroll, Konarak Reddy, Danny Ellis, Doug Young and Paul Asbell. In addition we have performance videos by these players and other friends who come by the shop, including Cliff Eberhardt, Loren & Mark, Jordan McConnell (The Duhks), Steve Baughman and Robin Bullock.
All of these can be found on our popular YouTube Channel and we also have a direct link to our Lessons Page on our main menu under Resources.
Have you visited our Listening Studio? Over the years, we at Dream Guitars have been recording each of our in-stock instruments, many by the one and only Al Petteway. As a result, we were able to compile all of these recordings into a database that now allows you to listen to thousands of individual guitar recordings while comparing and analyzing tone woods, builders, models, wood types, and more.
In addition, we are very excited to have just finished up Dream Guitars Vol. II: Hand Picked by Al Petteway as well. Volume II not only includes Music and Tab but will also include a Video lesson of absolutely every track available on our site in the coming months.
Hot News: Robin Bullock has also recently moved back to the Asheville Area and will begin to produce a regular lesson series for us as well!! Stay tuned for more on this.
https://cdn.dreamguitars.com/2021/06/DG-II-Front-Cover-i.jpg321338Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2015-01-29 05:00:002021-06-30 12:55:06More Than Just a Guitar Shop
Click on any of the images throughout the article for a larger view
For those who have never been to the Woodstock Invitational Guitar Festival, it is something quite special. Seventy or so of the top Luthiers in the world are invited by Baker Rorick to come to the small town in the Hudson Valley for a weekend of pure joy for guitarists. This is a small show and it’s overcrowded, but that’s a good thing. It ensures that the show will stay of the highest quality. Baker has no plans to grow the show or move it to a larger location and I think that will keep it very special. It’s already host to more guitars than you can possibly see properly in two days.
For me this year’s show was extra special. It had a real feeling of brotherhood. Perhaps the last few years, very hard years in the guitar business by anyone’s account, have bonded us all. Many builders (and shop owners) have barely survived, others have been forced to go back to a ‘real job’, but most continue to hold onto the passion that drives them to build the finest instruments that we’ve ever seen. Immediately upon arrival I received hugs and handshakes from my friends, the builders who whittle wood to make music. Making the show even more memorable is the fact that Scott Bresnick, the man behind the machine that is Dream Guitars, met me at the show as well. Scott quietly does vast amounts of promotion for us and has been my sounding board since I started DG in New Jersey. So this year is, as I said, was just extra special.
Now for the good stuff, the guitars. Woodstock is like the buffet at the Grove Park Inn in Asheville. More food than you can possibly eat, but you’re sure as hell going to try.
As someone who has played thousands of guitars and all of them the finest in the world, I’m struck with the amazing quality of the voices of the instruments here at the show. A large number of the guitars are nothing short of mesmerizing and inspiring. I don’t say that lightly as I am admittedly quite spoiled hanging out at Dream Guitars all day. At a show like this it’s hard to go 10 feet without running into someone else you know and stopping and saying “hi” and catching up. It makes the going slow but well worth while.
I started at the stage where my good friends John Buscarino, Chris & Jeremy Jenkins, Michael Bashkin and Bill Tippin all had their instruments displayed. John had his Autumn Leaves 35th anniversary guitar, complete with an amazing carved tree on the back of the instrument.
Stage left was Keystone guitars from Japan, one of the newest builders to join the Dream Guitars family. Keisuke Nishi built a wonderful modified dreadnought for the show which I promptly snatched up for our clients.
Down on the main floor were a number of builders including:
• Cris Mirabella
• Joe Veillette
• John Osthoff
• Bruce Petros
• Kent Everett
• Julian Gaffney
• David Berkowitz
• Bernie Lehman
• Randy Muth – another builder we invited to join DG at this event
• Ken Parker
• Jason Kostal – indeed Jason Kostal’s guitars are the highest form of artistry
• Tim Reede and Raymond Kraut, both joining the DG Family as well
• Ryan Thorell
• Paul Beard
• Linda Manzer
• Michael Baranik
• And many more.
A veritable cornucopia of fine guitars. Some that have remained etched in my memory are:
Cris Mirabella’s arch top in black with maple accents:
Randy Muth’s guitars all have an amazing and unique voice:
Julian Gaffney, currently apprenticing with Ervin Somogyi, built a stunning guitar that I played for some time and truly enjoyed:
There’s always a big amount of laughter as well, like when Tom Ribbecke decided to probe Kent Everett’s new Petite Model guitar:
But this is just one room at the show. I stepped out the door and into the stage/bar area where there is constantly amazing music being played. All day long there are demo concerts and feature concerts and talks by prominent builders such as Bill Collings, Tom Ribbecke, Michael Gurian, Ken Parker, John Monteleone and Roger Sadowski.
Ear candy everywhere. A short walk across the drive and you enter the secondary room which houses a lot of tonewoods, Luthery tools and a fine display of guitars including multiple Grit Laskin guitars featuring Grit’s fabulous inlay work and two rare Steve Klein Electrics from the Jeff Doctorow collection (see photo below). Jeff is a good friend and fellow Jersey Boy.
John Slobod and his Circa guitars were also here in this room and he and I got a chance to sneak to a back office for some serious tasting. He had two small body guitars with him and each a cannon in its own right. He does things with Maple that are amazing, a lush full voice that’s even prettier than the insanely figured set of wood he actually traveled to Germany for. A few friends joined us as well so I got to hear the guitars from out front and in the driver’s seat and they are masterful.
Another great thing about shows like Woodstock is that it gives me the chance to touch base with Luthiers about what they’re seeing in the business in general. Most everyone has felt an uptick in 2014 with sales increasing. That coincides with what we have seen in the shop as well. Particularly high-end guitar sales have greatly increased in 2014. From where we sit, 2015 looks to be a great year for guitar makers and of course that means for guitar players. With instruments like this being crafted by great people with passion, we should all have plenty of inspiration to make our music for the world.
Whether you need a stage instrument, are looking for a travel guitar or flight case, or you are new to the custom guitar world, Acoustic Pro Musician is your resource.
For the past 14 years, Acoustic Pro Musician (www.acousticpromusician.com) and its founder, Danny Brevard built a strong reputation within the guitar community. Upon Danny’s decision to retire from the acoustic guitar business, he reached out to Paul Heumiller and a deal was struck for Dream Guitars to acquire Acoustic Pro Musician and continue building the Acoustic Pro Musician brand and reputation of offering quality instruments and gear in affordable price ranges for all musicians.
“As you know, music is my passion and serving others has always been a priority in my life. As I have reached the age of 60, I’ve realized that there are things that I still want to do but I have to make some life changes to do them. Dream Guitars is perhaps the finest shop in the world and known for tremendous expertise and helping players in an honorable fashion. Paul shares my vision and passion and I am confident you will all be delighted to work with Paul if you haven’t already.” – Danny Brevard
The team of 8 professionals at Dream Guitars, and now Acoustic Pro Musician, look forward to continuing to build two strong brands into the future, offering customers the full spectrum of quality acoustic instruments and gear available throughout the world.
“I am extremely delighted that Danny has asked me to carry on his wonderful shop Acoustic Pro Musician. I have heard nothing but great things over the years and I have the utmost respect for Danny’s expertise and service. I will continue to operate Acoustic Pro Musician as it’s own entity, offering the same guitar lines and the great service everyone expects from Acoustic Pro and from Dream Guitars.” – Paul Heumiller
https://cdn.dreamguitars.com/2021/06/gJ1RTBdW-apm-ss31.jpg249828Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2014-06-19 04:00:002021-06-30 12:36:32Dream Guitars is proud to announce the acquisition of Acoustic Pro Musician
When Steve James spent time with us at Dream Guitars just before his rocking house concert performance at our Weaverville, NC, offices, not only did he demo several amazing National Resophonic guitars, he also taught us all a lesson in bottleneck slide playing the legendary “Guitar Rag.”
Your moment of musical history for today: Sylvester Weaver’s “Guitar Rag” is recognized as the first recording of slide guitar. That was way back in 1923, though Steve’s classic style is more than simply reminiscent of the period.
Now you can learn a thing or two from James himself right here at our YouTube channel, study the master’s moves and styles. There is an awful lot of information here and you’ll be able to apply what you learn as you progress as a player. Steve takes the time to demonstrate basic hand placement, string contact, touch, pick technique, vibrato, chords and more as he teaches the viewer how to play like a pro.
Steve James is world-renowned as an expert slide guitar master, not only touring and recording his own material and but acting as a sideman for such legends as Bo Diddley, Kinky Friedman, Buddy Guy and John Hammond. For more information and cool stuff, visit Steve’s homepage… after you learn how to play “Guitar Rag” his way — arguably the best way!
https://cdn.dreamguitars.com/2021/06/steve-james-lesson-i1.jpg220250Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2013-06-19 04:00:002021-06-30 12:29:37Bottleneck slide master Steve James teaches you ‘Guitar Rag’
Steve also wowed us with a version of “Stagger Lee,” re-written from the perspective of Stagger Lee and his John B. Stetson hat. Incredible!
Dream Guitars hosts about six house concerts a year and in the past has hosted many amazing artists, including Al Petteway and Amy White, Woody Mann, Martin Simpson, Clive Carroll, Lawrence Juber, Paul Geremia, Robin Bullock and Mary Flower to name a few.
Our next show is set for July 7 with the amazing duo of Loren and Mark. Other upcoming guests include Paul Asbell (August 3) and the return of Clive Caroll (Feb 28).
Check out our Event Calendar for more information on our house concert series.
https://cdn.dreamguitars.com/2021/06/D5nK4oQI-steve-james-live2-i.jpg720629Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2013-06-12 04:00:002021-06-30 12:29:09Steve James’ May 4 House Concert at Dreams Guitars was a blast!
We host a number of events here at Dream Guitars. Just one of our many ways to give back to the community and share music with others who are passionate about it. We welcome you all to come join us at a House Concert, Guitar Clinic, Setup Saturdays and other events throughout the year. Come visit Dream Guitars and the wonderful Asheville area!
Loren and Mark in Concert!
Sunday, July 7 @ 7 pm
Pre-Show Pot Luck @ 6 pm
Tickets $20, Reservations required
About Loren and Mark
Loren Barrigar and Mark Mazengarb, both virtuoso players in their own right, ran into each other several times over the years, first meeting in 2005 at Jorma Kaukonen’s Fur Peace Ranch guitar camp when working with Tommy Emmanuel. Loren was a seasoned player making his first deep foray into the world of acoustic guitars, while Mark was in the process of finishing his degree in classical guitar at the University of North Carolina. They met again in 2009 at the Chet Atkins Appreciation Society (CAAS) convention in Nashville, Tenn., and then they were late additions to the CAAS 2010 Saturday night finale performance lineup based on what the gathering of international guitarists had heard from them during the week. You can see part of that performance here.
Together, Loren and Mark run the gamut of acoustic guitar performances of both original and arranged music. With a background of bluegrass, jazz and Western styles, their thumb-picking technique harkens back to guitar greats such as Atkins, Merle Travis and Jerry Reed. When performing original compositions, Loren brings amazing vocals along with Mark’s stunning harmonies.
They have already recorded two albums together — the first of which won the 2011 SAMMY (Syracuse Area Music Awards) Best Album at the Northeast Music Industry Conference — and have been touring as a duo since 2011. For more on Loren Barrigar and Mark Mazengarb, visit their website http://www.lorenandmark.com.
Reservations required for all events, please email [email protected] or call us at (828) 658-9795.
How it works….
Come join us at 3 pm and bring a dish to share and a bottle of your preferred beverage. It’s always a wonderful array of treats!
Show starts at 4pm and performers play two sets with an intermission to mingle and meet the artist!
Guitar demos available in the shop before and after the show.
Here at Dream Guitars, we discovered early on that one element of selling world-class guitars online was missing for our online customers: the sound. We then became perhaps the first online dealer of guitars to offer sound samples by recording every guitar we have in stock, played by any number of our favorite friends. In fact, we made every effort to use snippets of the same song for each guitar to give customers a great point of tonal reference.
If you are a fan and frequent visitor, you are no doubt familiar with, “The Crossing,” written and performed by Al Petteway and included on the “Dream Guitars, Volume 1”compact disc. In effect, it has become our unofficial theme song. In fact, we’ve noticed that many clients come into the showroom outside of Asheville, NC, and play snippets of the very same song they had heard on this site. Kind of cool on the one hand, but very telling on the other.
https://cdn.dreamguitars.com/2021/06/LrwrIKqV-AL_P21.jpg800533Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2013-05-31 04:00:002021-06-30 12:29:02Learn to Play Our Theme Song,’The Crossing,’ from Al Petteway
Now online: Minnesota Public Television has posted their “Minnesota Original” segment – featuring Charlie Hoffman of Hoffman Guitars. It features an interview with the renowned luthier, as well as some great behind the scenes action of Charlie bending Indian Rosewood sides. Other highlights include a performance by fingerstylist Tim Sparks.
To view Hoffman Guitars currently in stock, please click the links below.
https://cdn.dreamguitars.com/2021/06/AVjXB1n7-about-876.gif666666Paul Heumillerhttps://cdn.dreamguitars.com/2021/06/dreamguitars-logo.pngPaul Heumiller2012-05-08 04:00:002021-06-30 12:25:55Charlie Hoffman (Hoffman Guitars) on Minnesota Public Television
One prime difference between Dream Guitars and other guitar sellers is that we regularly work one-on-one with the best luthiers on the planet – commissioning extraordinary, exclusive guitars with the very finest appointments. Our Dream Series builds are legendary, featuring superlative tone woods and design, and crafted for superb playability and utmost player satisfaction.
Quite often, these highly desirable treasures never even make it to our website, as they are quickly acquired by our walk-in clientele before they can be photographed and recorded. With that in mind, we are starting our new Incoming Guitars blog to keep you abreast of incoming instruments that are truly amongst the finest ever made. Please bookmark this page, or check back regularly for updates.
Arriving soon: Model M1 by Michihiro Matsuda. This refined beauty is built with a stunning set of Brazilian Rosewood, hand selected by Dream Guitar’s own Paul Heumiller. The top is an exceptionally fine piece of Italian Spruce. Other specs include a 1 3/4″ nut 2 1/4″ string spacing. Please call for more details.
Matsuda M1 Cutaway - example, not actual incoming guitar
MICHAEL KELLER GUITARS
Keller Dream Series Rose Model SJ
One of our favorite builders – and one of the nicest guys in the guitar biz – is longtime luthier Michael Keller. We have had many spectacular Keller instruments at Dream Guitars over the years, and they are always impressive. We are so knocked out with Michael’s work, that we commissioned him to build the latest addition to our exclusive Dream Series. Starting with a flawless set of Brazilian Rosewood and an Adirondack top, this guitar is sure to be as wonderfully voiced as it is gorgeous! Please call for further information, and to reserve the Keller Dream Series Rose Model SJ for yourself.
"By far the best collection of acoustic guitars I'd ever played"
When I first met Paul, I had no idea he sold guitars. After a show, he invited me up to his house and one by one Paul started pulling out all these incredible instruments for me to try. It was by far the best collection of acoustic guitars I’d ever played. It’s no surprise that Dream Guitars® has grown to become one of the best sources for high-end guitars on the planet. Highly recommended!
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