Page 3 – Dream Guitars

A Builder, A Dealer, and A Player: Dream Guitars’ latest collaboration with Isaac Jang

customers, Incoming, Luthier profile, Uncategorized

Hi gang!

The good news keeps pouring in, which in our case means more amazing custom builds with our favorite luthiers. The latest addition to that roster is California-based luthier Isaac Jang. We’ve been telling anyone will listen that both his aesthetics and his acoustics are astounding, and that’s led to one of our clients coming forward for a custom build. He wanted all the bells, all the whistles, and even the boxes that they came in. This afforded Paul another opportunity to talk it over with the client, weighing the pros and cons of each option, and the result is a Jang OM that’s dressed to the nines for both fingerstyle and flatpicking. Check out below for a full spec sheet and the first salvo of photos from Isaac’s bench. More to follow!

Here’s Paul on that process:

“Helping players build a custom instrument for their music is one of the most satisfying things I do. Being a player myself, I’ve realized that having an instrument that fits like a old pair of jeans is immensely satisfying. One of the misunderstandings about custom building guitars is that a dealer like us adds cost. We do not: we always sell at the same price as the builders themselves. What we do is add value by giving the client objective third-party opinions coupled with years and years of experience regarding wood combinations, tonal needs, and how to avoid common pitfalls. For this guitar the client and I went through many pictures of sets of wood for both the back and sides and the top. But even before that I had a conversation with Isaac to ask about what wood he currently had in stock that he was really impressed with.

I do this a lot. Each time I work closely with the builder to make sure the client gets the best possible results, keeping the lines of communication open between both parties so no balls are dropped. A big part of what I do is make sure that the builder knows how the guitar will be played. I make sure to understand the genre of music the client plays in, their particular playing style, whether the guitar will be fingerpicked and/or flatpicked, amplified or not–the list goes on, and on. There’s a lot that goes into building a custom guitar, but the result is a perfectly-tailored instrument for that particular player. You can’t find that anywhere else.”

New Custom Isaac Jang OM Specs:
Brazilian Rosewood back and sides
Adirondack Spruce top
Voiced for 70% flatpicking, 30% fingerstyle
Uchida Bendaway cutaway
1 3/4″ nut
2 1/4″ string spacing
Medium setup for light gauge strings
K&K Pure Mini
Heelblock strap button
Gold Gotoh 510s with Ebony buttons
Subtle body wedge

Hand-picked Brazilian Rosewood back and sides

Closeup of the back set. Excellent straight-grained stuff, very stable!

The sides after bending. Smooth curves and chocolatey goodness!

Laminating the sides. Lots of spring clamps with plywood cauls to span the middle.

2/2/2018: Oh so close! Heading into the spray booth now, then it’s on to final setup.

2/14/18 Update:

So close! Back from the finishers, Jang’s latest is read for final setup. We should have it in-hand in only a few days, so stay tuned for Dream Guitars’ full video and photo workup! We promised the owner we’d get it to him as soon as possible, so we’ll be quick.

Stay tuned for updates! As the build progresses, so will our blog.

November 21, 2017/by Logan Wells

New Builder Profile: Tyler Robbins

Uncategorized

The Artisan Guitar Show in Pennsylvania was a case of fortuitous timing: Dream Guitars was introduced to a slew of new and talented builders to add to our lineup! Canadian builder Ben Lavoie, Italian luthier extraordinaire Mirko Borghino, and Tyler Robbins, who’s been working alongside Bryan Galloup and Sam Guidry for several years now. Since that blustery weekend in April, we’ve taken in (and quickly sold) two of Tyler’s guitars, and we’ve got a third one, Ziricote and Engelmann Spruce, on the bench as we speak! We recently pried Tyler away from his busy schedule for a few minutes to talk about his building style, and more. Check it out below!

Here’s a link to the R.1 in process: https://www.dreamguitars.com/another-incoming-2017-tyler-robbins-r-1/

This is the R.1ca we just sold: https://www.dreamguitars.com/shop/2017-robbins-r-1ca-cocobolo-engelmann-1703.html

You can find all our Robbins guitars, past and present, here: https://www.dreamguitars.com/shop/builders/robbins-guitars.html

Who are some of your favorite guitar players? Have you built instruments for any of them?

Jon Gomm is the artist that got me into fingerstyle and the more percussive styles of playing guitar. I had never seen anyone use a guitar in so many ways to create different sounds and elements to his music. It was really inspiring. Once I realized I would never be able to play like that I decided I would give it my all to at least make the instruments worthy of players at that level. I have not built for him or any one of that caliber yet but I am fairly new to the scene and plan to change that in the near future!

What builders inspire you today?

I am inspired by both Bryan Galloup and Sam Guidry on a daily basis. I have been working alongside them day in and day out for close to four years now. Their quest to build the best-sounding instruments on the planet through material testing, experimenting, and research is motivating to say the least. I try not to look too much toward other builders for inspiration. I think it can stunt the growth of your own personal style and lead you down a path that someone has already traveled, whether intentional or not. I look to other forms of woodworking, design, architecture, and even nature for inspiration these days. I was in Peru last month and I thought my head might explode from all the new ideas I gathered just from wondering aimlessly through the streets!

Please describe your goals in voicing an instrument. How did you first find your voice, and how do you continue to experiment?

My goal, like most builders, is to achieve a balanced tone. I am looking sparkling highs with a present mid range and powerful lows that still retain clarity and crispness. I am pleased with the results I am getting with my current process but continue to push the instruments further through material testing and selection. I am becoming more selective on top material and utilize a wood testing method developed by Galloup Guitars. This allows me to start with only the best possible tops for the instrument and to not be limited by any unforeseen short comings in the material later in the build process.

Gold hardware sets off the Ebony and Cocobolo on this R.1

Where do you think your building style will take you in the next five years?

Clean, unique, and challenging is what I am looking for. Balancing those three things is pretty difficult. You can be unique and do work that is difficult, but it can easily become cluttered or lose focus. Building a guitar that is clean and unique can work but if it’s so easy that anyone can do it, it loses my interest. In five years I hope my guitars have evolved to a complete coherent statement, something that will leave players saying “wow!” and other craftsmen scratching their heads wondering how I did it.

Any interesting facts about your technique or shop arrangement that you’d like to share?

Most of my building techniques are fairly standard except when it comes to some of my decorative materials. I make a lot of my own inlay material and some of it can be a bit dangerous. I have experimented with creating wood fragments with a twelve ton press, sending wood shards clear across the room. I use a two part resin for a lot of my inlays that I’m actually fairly allergic to, it has even put me in the hospital once. I’ve also gone as far as to run 12,000 volts through some of my material to create interesting patterns that I then emphasize with the resin! I am a lot more careful now a days but when I first started, I imagine my methods would make most people flinch.

Tyler’s latest R.1, coming soon to Dream Guitars.

What do you enjoy doing outside of building instruments?

Guitar building was my hobby first and foremost. It was the first thing I ever felt really proud of. This is a tricky question in that when I am not working for Galloup guitars during the day, I am working on my own guitars late into the night. 12-14 hour days are not an uncommon occurrence at all. When I do manage to pry myself from the shop, I love being outside in the warmer months. Michigan is amazing in the summer! I also enjoy finding new places to get good food or craft beer, and after a recent trip to South America I will be adding traveling to this list as well!

If you had not become a guitar maker, where do you think life would have led you?

If guitar building had not worked out for me as a career, I would most likely be a state police officer in New jersey, where I am from originally. I went to the Richard Stockton College of New Jersey and completed my bachelors in criminal justice with a focus in forensic psychology. Guitar building was just a hobby but it’s managed to keep me from needing to use my degree and I couldn’t be happier!

Koa and Spruce

What music are you listening to right now?

I am currently listening to “Grow,” an album by the band Chon. My musical taste is all over the place. I will listen to anything from bluegrass to punk, from hip hop to metal while I’m working in the shop. I get strange looks from time to time but I enjoy the variety and I’m always looking for new music to get me going when I build.

If you could keep only one tool from your shop, what tool would that be?

That would have to be my old Bailey No. 5 Jack plane. It belonged to my grandfather, a custom cabinet maker, who is no longer with us. The plane definitely has the most meaning to me of all my tools. It was in rough shape when I got it but I put the time into cleaning it up and now she cuts like a champ. I use it for a few things but mostly when I’m joining sides at the end block. Nailing that seam and not needing an end wedge is not only one of the most difficult procedures but also one of the most satisfying.

I see you’ve employed a rosette design that highlights the grain of the top, rather than completely obscuring it with another material. Care to explain how you came to this, and other, aesthetic choices?

As I progress, keeping things clean and simple is becoming more satisfying to me. I first noticed how good a clean spruce top looks, unobstructed by a bold solid rosette, on a Galloup guitar. We only used black purfling to decorate the ring and I really liked the outcome. Since then I have been thinking of new ways to use spruce in a more decorative way with my rosettes. I like to showcase the beauty of the spruce while adding splashes of color with other materials here and there. I have a new idea for a multi layer rosette that will consist of spruce and sterling silver. It will make its debut on my next few builds as long as testing goes well!

November 13, 2017/by Logan Wells

White Rose Auction for Puerto Rico Relief

Uncategorized

After the success of our recent Rainsong auction to provide relief for Hurricane Harvey, we wanted to keep the momentum going to help out with Hurricane Maria and Puerto Rico. So we then auctioned off two of our own guitars for the cause, a 2012 Grand Auditorium from Leo Posch and a 2009 Tui from New Zealand builder Laurie Williams. Through those auctions we were able to raise over $1,750 to donate to the United For Puerto Rico fund spearheaded by Puerto Rico’s first lady, Beatriz Rosselló. Again, thank you to everyone who participated in these auctions, and to everyone who simply donated straight to the fund. We couldn’t have done it without you!

We’re going to auction off a third guitar for UFPR. This time we’ve upped the ante with a different breed of guitar altogether: our 1989 “White Rose” from Linda Manzer! Here’s Paul: “Part of the magic of amazing instruments are the stories that they bring with them. Once Linda filled us in on the White Rose, I knew we’d stumbled onto a truly one-off instrument. I love how the rosewood oils have come through in the streaking on the sides.”

Check out the White Rose here: https://www.dreamguitars.com/shop/manzer-white-rose.html

As before, a portion of the proceeds will go the the United For Puerto Rico fund spearheaded by Puerto Rico’s first lady. Also as before, please email your bids to [email protected], and we will keep you informed as to the current bid during the auction. This auction is begins today at 5pm EST, October 30. It is scheduled to close on 12pm EST, November 5th. Bidding will start at $5,995. Thank you all in advance for participating!

Here’s a link to UFPR where you can see how they distribute all the donations they’re receiving: http://unidosporpuertorico.com/en/.

We managed to get a hold of one of our friends and illustration maestros Fian Arroyo (http://fian.com/) who has family in Puerto Rico to give us a picture of the state of the island. Here’s Fian:

Hurricane Maria has left the beautiful island of Puerto Rico with a devastating blow that has will effect the island for many years to come. I personally have family throughout the island, especially in San Juan and Ponce. In San Juan for the first couple weeks, besides not having any running water or electricity, there were few stores, running on generators, open to buy food and the few that were open barely had anything on the shelves. They had to go searching for places to buy gas and water, which would sometimes take a whole day to do, and when they did find it, they had to wait for hours in long lines. At one point, my father had to wait in a line to buy diesel fuel for their generator for 7 hours….in the hot sun. Now they have running water, but still no power so living with a generator that is only running at certain times, to conserve diesel, in the hot tropical climate it feels like a never-ending bad camping trip. The only way for my family in San Juan to take showers before the water came back on was to go to my sister’s condo, where the generator and water ran for only one hour from 5-6pm, and take showers there real fast and get back before the curfew which was at 7pm.

Now the lines are not nearly as long for gas and some stores and restaurants are open for limited hours due to running on generators with only the essentials and only limited menus. Banks still have extremely long lines due to the fact that they only give out a limited amount of cash and are open for a few hours because they too are running on generators. The long lines are also due to everything on the island can only be bought with cash. There are no ATMs to get cash and no credit card purchases.

Communication was a nightmare and is still very shaky. The only way I could communicate with my family was with the iPhone app Whatsapp to make calls and text. That is only possible due to them having a generator and luckily having WiFi when the generator was running, and it was only occasionally that we could get through. I was lucky: my siblings here in the states could almost never get through and depended on me to give them updates. It took over a week before family members on different parts of the island could get a text or call through to let each other know they were okay. I have two cousins who used a neighbors satellite phone to let us all know they were okay.

Maneuvering through the city is a nightmare due to all the fallen trees, power lines, and debris everywhere, and driving at night has to be done slowly and carefully because it is pitch black due to being no street lights or lit buildings anywhere. Things are cleaned up a lot more now but there is still no electricity and it’s dark at night without lights.

We sent 12 packages of supplies out to my family in San Juan as soon as the USPS opened for delivery, which was about a week and a half after the storm hit. It took over two weeks to get all 12 boxes to them using USPS 3-day Priority mail. I was so happy they actually received ALL of them.

There is so much more I could write about my family’s hardships right now on the island. But to put it in perspective, they are so fortunate compared to the many many others throughout Puerto Rico who lost their homes and everything they owned and still have no power and running water where they are staying.

This is going to be a long, rough road for Puerto Rico, and it will take many years before it can even come close to what is was financially and aesthetically before Maria came to town. The scars will be felt much longer than that.

It’s heartbreaking to hear of the devastation, but at least we can do our part to help the people of Puerto Rico get back on their feet. Please, if you don’t want to bid on the White Rose, feel free to donate directly to Unidos: http://unidosporpuertorico.com/en/

October 30, 2017/by Logan Wells

Another Incoming 2017 Tyler Robbins R.1!

Uncategorized

We’re not prone to idle hands at Dream Guitars, and neither is Tyler Robbins! In addition to the Cocobolo R.1 he’s building for us, he’s got another one in the works already, this time with Ziricote! Keep checking in as we update this latest build thread with photos and specs.

Back and Sides – Ziricote
Top – Engelmann Spruce
Scale length – 25.5”
Nut Width – 1.75”
Saddle Spacing – 2.187”
Gotoh 510 mini Tuners
13-Fret Honduran Mahogany Neck
Ebony Bindings
Double X-braced back
Figured Koa rosette and headstock inlay

Engelmann Spruce top

Ziricote back and sides

Solid bent kerfing

Koa rosette

Koa inlay

From Tyler: “This is not standard but was necessary on this build. The back was thinner then normal to start, so in order to be able to tune to the frequency that I needed, I chose this bracing pattern to increase stiffness so that I had room to bring it down to my target.”

October 11, 2017/by Logan Wells

The Traugott Five: From 1994 to 2016

General Interest Guitar, Handbuilt Guitars, Musicians, Sales

The boutique guitar industry is chock full of unique experiences, and we’ve certainly had our fair share of them take place in these very showrooms. Recently, we found ourselves with no fewer than five Traugott R models at the same time (some have already sold by now). When Al rolled in on Wednesday for our regular recording session, we seized the opportunity to taste test the five Traugotts (from a 1994 Koa model all the way to a 2016 with Adirondack Spruce) and get Jeff Traugott’s own feedback on how he heard his individual sound manifested in each individual guitar. It was a pleasure both to analyze the common threads of Jeff’s voicing, and to delve into the minute idiosyncrasies by which each model R stood out from its siblings. Below you’ll find the The Traugott Five: From 1994 to 2016 compilation video, and each Traugott’s individual video with Paul and Jeff’s commentary. Tell us what you think!

1994 Traugott R (R.009.07.024) Flamed Koa & German Spruce

https://www.dreamguitars.com/shop/traugott-r-17532.html

Paul: This doesn’t sound like your dad’s Koa. The bass is tight and defined, which I expect of Koa, but the brightness in the trebles has a roundness that’s something else entirely. This one is well played in, and responds accordingly. I’d describe the energy as wide open, but precise.

Jeff: The Koa guitar has a beautiful range with bright lows and mids and fat highs, but the overall tone is less complex than the Brazilian. Not in any negative way, just that to me it’s not as deep and varied as the sound I can I get with Rosewood. Like the 6-12 string guitars, the Koa has a smooth, warm, sweet character, and they are all getting better with age.

2004 Traugott R (R.000.130.104) Brazilian Rosewood & German Spruce Matched Pair

https://www.dreamguitars.com/shop/traugott-r-15688.html

Paul: This one has a mature, seasoned voice. Strong trebles, and a little more warmth in the lower mids than others. Both this and its 12-string twin have lots of headroom. This one in particular has that glassy top end you only find with Brazilian Rosewood.

Jeff: The 2004 pair of 6-12 strings sound so rich and smooth with a balanced range and super thick highs. They’re getting better with age.

2004 Traugott R 12-String (R.000.126.064) Brazilian Rosewood & German Spruce Matched Pair

https://www.dreamguitars.com/shop/traugott-r-12-string.html

Paul: Just like how the Koa Traugott isn’t your usual Koa guitar, this R 12-String ain’t a regular ole jangly strummer. The voice is much more focused and doesn’t suffer from the harsh brightness of other 12-strings. It’s tough to describe it other than it’s more musical, more nuanced and dynamic, than what you’ve been conditioned to expect from a 12-string guitar.

Jeff: The 2004 pair of 6-12 strings sound so rich and smooth with a balanced range and super thick highs. They’re getting better with age.

2012 Traugott R (R.000.202.082) Brazilian Rosewood & German Spruce

https://www.dreamguitars.com/shop/2012-traugott-r-brazilian-rosewood-german-spruce.html

Paul: Ah, now that’s some gorgeous Brazilian. Old school, nice and straight-grained. The bass is a bit more prominent in this one than the others, and there’s great note separation and clarity. The tone is focused with bright trebles, and I’d describe the energy as forward-voiced.

Jeff: The 2012 and 2016 have a notable boost in the low end and low mid range with some wild overtones and killer volume while still maintaining the strong mid-range and fat high end which I try for in all my guitars. I made an effort to get this kind of sound in 2006 when I made some significant bracing changes including my design for the floating back brace.

2016 Traugott R (R.001.230.086) Brazilian Rosewood & Adirondack Spruce

https://www.dreamguitars.com/shop/2016-traugott-r-brazilian-rosewood-adirondack-spruce.html

Paul: Rich sonority was the first thing I noticed. The lower mids are particularly rich as well. This one the Brazilian glassiness just like the 2004 6-string. The notes have that elusive bloom, where there’s a kind of overtone swell that blossoms after the initial attack starts to fade. It’s a rare thing, but I’ve seen it in a number of Traugotts.

Jeff: Both the 2012 and the 2016 started life big and bold and to me have a huge tonal range and a complexity that is stunning. This is the case with all my current guitars and I’m loving that. I just strung a new Model R Fan Fret today with the sister set of Brazilian to that of the 2016 R and it is crazy good! I hope I can hear the 2012 and 2016 in 10 to 20 years and see how they have developed like these others.

Further, Jeff had this to say about the collection: I believe strongly that the more a guitar is played and the older it gets, the better it gets. When someone owns a guitar and plays it year after year they mingle their DNA with the guitar’s DNA and this can create something very special! In truth I would love to own any one of these guitars. I’m very pleased to hear this mini retrospective of my work and thankful to Al, Paul, and Logan at Dream Guitars for putting together such a lovely soundscape! Thanks also to everyone who has bought or may buy one of my guitars, many of you have become friends over the years and that has been a wonderful experience for me! Anyone with questions about these or any of my guitars are free to contact me!

Dream Guitars is also here to talk with you about Traugotts past, present, and future. We hope you enjoyed this glimpse into Paul, Jeff, and Al’s respective ears–and we hope that this compilation can help establish both a thread of continuity across Jeff’s guitars and a greater understanding of the subtle nuances that makes each of these hierloom-quality guitars distinct.

September 26, 2017/by Logan Wells

Canadian Lutherie Video Series with Jordan McConnell

General Interest Guitar, Handbuilt Guitars, Music, Musicians, players

We’ve got a brand new mini video series with Canadian lutherie virtuoso Jordan McConnell (of McConnell Guitars and The Duhks fame)—Jordan brings out the rich and varied colors of his fellow Canadian builders’ fine creations that we’re happy to represent here at Dream Guitars. Immediately below is a quick collage of the six guitars, and you can scroll down below that for each video in its entirety. Enjoy!

First up is a striking Art Deco Sunburst Maple-and-Engelmann Jumbo from Michel Pellerin (http://www.dreamguitars.com/…/5347-pellerin_jumbo_sunburst…/). To say the voice is huge would be, well, a cruel understatement. This Pellerin rattles your teeth from 20 feet away!

Next on the block is a lively and exhilarating 3GMS/25/27 flattop from Al Beardsell. Soundports, bevels, multi-scale fretboard, isometric neck profile—all with quick attack and responsiveness.

Number three could easily be number one in our books: a Little Manzer in Brazilian and Cedar from Linda Manzer! A pocked-sized beauty with a guitar-and-a-half voice, this model was originally made famous by Pat Metheny, and since then Linda’s made but a handful of these handy (themselves a handful) little gems.

Number four: a classic from one of Canada’s greatest: our 2000 OMC from Mario Beauregard. Brazilian Rosewood and German Spruce of this order is incredibly hard to find these days, and in Mario’s hands these tonewoods are honed to their ultimate edge. Flawless balance from string to string, elegant curves and Ebony trim, a voice equal parts creamy and crisp—you have to make a hard decision between playing this Beauregard and doing anything else, ever, each time you pick it up.

Number five comes from the man himself, Mr. Jordan McConnell. This particular 16 Inch model was built for our very own Paul Heumiller (so of course the Brazilian back and sides are ridiculous), who opted for Moonspruce on top and a Blue Ridge Parkway-themed inlay scheme by none other than inlay virtuoso Larry Robinson.

September 21, 2017/by Logan Wells

Paul Heumiller on Michael Bashkin & Fretboard Journal’s “Luthier on Luthier” Podcast

DG Updates, General Interest Guitar, Luthier profile, Uncategorized

Paul recently sat down with Michael Bashkin of Bashkin Guitars for a chat about the boutique guitar market, life, yoga, and more for episode nine of Bashkin’s “Luthier on Luthier” podcast with the Fretboard Journal.

“For our ninth episode, I sit down with Dream Guitars founder and owner, Paul Heumiller. If you build or play custom guitars you probably already know Paul’s name and that Dream Guitars is one of the top boutique guitar dealers in the world. Paul discusses his philosophy for life and business, and how for him they are one in the same. Paul talks about how Dream Guitars got started and the successful partnerships he has forged with some of today’s most collectible builders. Paul also gives some great advice to new and established builders about competing with your own guitars on the secondary market, and how to avoid burning out.” ~ Michael Bashkin

https://www.fretboardjournal.com/podcast/luthier-luthier-paul-heumiller-dream-guitars/

http://innermost.yoga/

September 21, 2017/by Logan Wells

Incoming 2017 Robbins R.1 Build

Incoming, Luthier profile

We were first introduced to Tyler Robbins and his work this year at the 2017 Artisan Guitar Show in Harrisburg, PA. Impressed by the R.1 we played there (click here for our listing for it), we brought it home with us. It was sold soon thereafter to a rather excited client! The next R.1 was already in the works by then, and now we’re hosting a build thread to document its journey. Keep checking in as we update the build thread with photos and specs. This guitar will be finished in time for the 2017 Woodstock Invitational Luthier’s Showcase!

Back and Sides – Cocobolo Rosewood
Top – Engelmann Spruce
Scale length – 25.5”
Nut Width – 1.75”
Saddle Spacing – 2.187”
Arm Bevel
Gotoh 510 Tuners
13-Fret Honduran Mahogany Neck
Ebony Bindings, Fretboard, Bridge, Headstock Veneer

Engelmann Spruce and Cocobolo

Cocobolo back and sides

Rim assembly with bevel support, heel and tail block, Florentine cutaway block

Rim assembly before Cocobolo end graft is installed

Closeup of the Florentine cutaway

Top is joined to the rim assembly supported by a MDF mold

Close up of the arm bevel block from the outside

Tyler here exploring his “sunken” inlay technique on the Cocobolo back center and end graft, where the actual inlay material is 1/8″ below the surface of the wood and clear epoxy is added to fill the 1/8″ space and create a surface level with the surrounding wood.

9/26/2017:

The box is bound!

The arm bevel is becoming more defined with binding.

The bevel miters look sharp!

Florentine cutaway freshly bound.

9/29/2017:

The body with Ebony arm bevel installed.

Test fitting the neck to the body.

Closeup of Tyler’s headstock veneers.

Closeup of the Ebony arm bevel.

Cocobolo and Nitro in sunlight.

The neck in the midst of finishing.

10/16/17:

Gluing the bridge after the spray booth.

Gold hardware sets of the Ebony and Cocobolo.

Glossy finish across the entire instrument.

First time strung up. Approaching setup time!

Stay tuned for more updates as we approach completion!

September 14, 2017/by Logan Wells

Incoming 2017 Bouchereau Mistral Build

General Interest Guitar, Handbuilt Guitars, Incoming, Uncategorized

We met Loïc Bortot of Bouchereau Guitars at the 2016 Woodstock Invitational Luthiers Showcase, and a few days later we came home to North Carolina with a sweet little Mistral OM (https://www.dreamguitars.com/shop/new-bouchereau-mistral-ziricote-lutz.html) in tow. That Ziricote-and-Lutz beauty wasn’t long for this shop, however, before we sent it on to its new home with one of our clients. We immediately snagged a slot in Loïc’s build schedule for the next one. We’re happy to report that our second Mistral (this time with Quilted Sapele and salvaged Sitka Spruce) is soundly underway! Loïc has already sent a few photos of the build so far, and will continue to provide photos so we can document the process here. We’re hoping to take delivery in the next month or so! Stay tuned.

Back and sides – Quilted Sapele
Top – Salvaged Sitka Spruce
Scale length – 25.4”
Nut width – 1.7″
Lower bout – 15 1/2”
Body length – 19 3/8”

Quilted Sapele back, Spruce braces.

Installing the Bouchereau label for Mistral #012.

Here’s a shot of the back and sides, recently joined to the top plate.

Closeups of Loïc’s Florentine Cutaway miters. Clean and well-executed!

11/22/2017:

Roughing in the saddle intonation.

Before first stringing.

Closeup of Loîc’s two-tone heelcap.

Sapele back and sides, freshly polished.

Freshly polished and strung up!

Stay tuned for further developments

August 18, 2017/by Logan Wells

Incoming 2017 Tippin Al Petteway Crescendo

General Interest Guitar, Incoming, Uncategorized

Paint us pink with excitement: we’ve got another Al Petteway signature model on the way from one of our all-time favorite builders, Bill Tippin! As you know, Al’s left his mark on virtually every steel string demo we’ve ever recorded, but this special Crescendo actually bears his physical mark on its own special label below Bill’s. We supplied the Brazilian Rosewood for the back and sides (it was a great excuse to sift through our secret stash and dream of future builds), and Bill supplied the rest. We’ll document the build process throughout the various stages, so stay tuned for updates! See immediately below for a few links to Al Petteway signature models Bill’s built for us in the past.

https://www.dreamguitars.com/shop/tippin-crescendo-built-for-al-petteway.html

https://www.dreamguitars.com/shop/tippin-crescendo-al-petteway-signature-acoustic-guitar.html

https://www.dreamguitars.com/shop/tippin-crescendo-al-petteway-series-000.html

https://www.dreamguitars.com/shop/tippin-crescendo-al-petteway-signature-acoustic-guitar.html

Back and sides – DG’s personal Brazilian Rosewood
Top – Swiss Moonspruce
Scale length – 25.5”
Lower bout – 15 1/2”
Body length – 20 3/8”
Body Depth – 4 5/16”
Standard nut width – 1 3/4”

Side assembly in the Crescendo mold clamped to a bench.

Close up of Tippin’s spreaders which keep the sides firmly squared up agains the inner rim of the mold.

Gluing the back to the side assembly: 30 clamps.

Binding strips, dark Brazilian Rosewood against even darker Brazilian Rosewood.

Bill’s spliced some textured sapwood between Abalone strips for an endgraft with an organic flair.

Bill’s iconic soundport, beveled to reveal the reinforcement layers underneath.

A Ryan-style arm bevel has here been routed to receive bindings. Installing a bevel is an intense feat of engineering, one which Bill has mastered handsomely over the years. Bill sourced this fine example of Moonspruce from Switzerland.

10/11/2017 Update:

Koa

Koa arm bevel

From Bill: “The heel to body joint has been beveled back to allow more access to the extension frets (upper register) also the heel profile has been swept in some providing no edges to interfere with access in the cutaway.”

Koa arm bevel to match the other Koa appointments

Fossil Walrus tusk surrounded by Mother of Pearl sparkle, Blue-Green Paua trim

August 17, 2017/by Logan Wells

New Builder Profile: Loïc Bortot of Bouchereau Guitars

Luthier profile

Paul attended three shows last year, Fretboard Journal Summit, the Santa Barbara Acoustic Instrument Celebration, and the Woodstock Invitational Luthier’s Showcase. There he met a number of new builders with some truly awe-inspiring builds. Naturally, we took several of them on as new builders for Dream Guitars! Alongside Michel Pellerin, Sam Guidry, and Isaac Jang, we’re also proud to have added French builder Loïc Bortot (of Bouchereau Guitars) to our ranks! We’ve already sold the Mistral OM Loïc sent us, but do check out the listing to read more about this awesome guitar and get a listen to Al’s demo. You can find it on our site here: https://www.dreamguitars.com/detail/5391-bouchereau_mistral_009/. The next Mistral is already in the works, though, so read to the end for a few sneak peak photos of the next one. In addition, we’d like to share his responses from a brief interview we conducted with Loïc earlier this year. Enjoy!

What or who inspired you to begin building guitars?

Before coming to Canada to become a luthier, I experienced several fields of study and unpleasant jobs in France. I spent two years in college studying Geography, but I was fed up with theoretical knowledge and I needed to experiment in a handwork field. Besides that I did a couple jobs in huge factories with low revenues and boring days. Seeing people who have been working there for years so unhappy made me realize that I had to find a good job before it was too late. I played a lot of guitar by that time, and even though I had never worked with wood before, I decided to give building a try. My first glimpse of the beauty of handmade guitars came from the work of Frank Cheval. Then I went to Quebec City and began the course at the Lutherie School in 2011.

2016 Bouchereau Mistral #009 in Ziricote & Lutz Spruce

What builders inspire you today?

Today, I am inspired by a lot of luthiers, mostly from North America: Ervin Somogyi indeed, and all his students. Michael Bashkin, Mario Beauregard, Michel Pellerin, Tom Doerr. Also, I am a great fan of Japanese craftsmanship, and their luthiers honor us with their great talent: Nishi Keisuke, Ryosuke Kobayashi, Ryohei Echizen, Hiroshi Ogino, Keisuke Fuji, and others. I am developing my own approach of design and building, but all these talented fellow builders are a part of my own development as a luthier.

Please describe your goals in voicing an instrument. How did you first find your voice, and how do you continue to experiment?

As I am still at the beginning of my career, my voicing methods are constantly evolving. My guitars are mostly designed for fingerpicking, and I am now focusing on controlling my back, top, and body pitch so they work together as a whole. When calibrating the parts, I focus a lot on their stiffness to weight ratio, I try to get my tops as light as possible so they have a quick and focused response. My comprehension of the frequency and vibrating behavior of the instrument remains a complex point for me. I am developing a new testing method based on some precious advice I got from Leo Buendia at the 2016 WILS. I truly believe, like most builders, that voicing and making instruments is an endless learning process.

Ziricote Back & Sides, Ebony Bindings & Heel Cap

Where do you think your building style will take you in the next five years?

My goal for now is to get my name out there. My participation to the 2016 WILS and my new partnership with you guys at Dream Guitars have really helped me to put my name on the map! For the next five years, I want to attend more guitar showcases like Woodstock, fill up my order list, and continue to develop my model lineup. I also have some unique guitar projects that I am dreaming to complete when the timing and finances allow it. I want my job as a luthier to be secure, and for that the Canadian Immigration department has a critical role to play as well.

Any interesting facts about your building process or shop arrangement?

My shop is small but functional for my work. I build most of the tools and jigs I am using myself, such as the binding channel routing arm, bending machine, molds, etc. I would rather spare hundreds of dollars in making my own stuff, and I also find it more satisfying in the end. My job as a technician at the Quebec Lutherie School is an amazing opportunity for me to have access to heavy machinery.

Bortot’s One-Man Shop in Quebec, Canada

What was your favorite, or your first, instrument that you ever played?

My very first guitar was my father’s old Japanese Takeharu Dreadnought, but it was not my favorite. As I am mostly an electric guitar player (which can sound odd as I have never built any) my favorite guitar in terms of playing would be my Gibson Les Paul. I also love playing on Bouchereau Guitars, indeed!

What do you enjoy doing outside of building instruments?

My life is mostly lutherie-focused, and even though it can be kind of isolating, my mind remains pretty healthy. Of course I have other activities in life, like paragliding in the summer and skiing in the winter, or just hiking from time to time. I love hanging out with my friends too. I try to go back to France once a year for a couple of weeks. It is always a blast to spend time with my friends and family there, and to put aside my rushed Canadian life for a while.

If you had not become a guitar maker, where do you think life would have led you?

If I was not a guitar maker now, I would probably be working in France in a wine industry job with my brain turned off and my TV turned on.

What music are you listening to right now?

Led Zeppelin, The doors, Snarky Puppy, Vulfpeck, System of a down, Chinese man, Justice, Paul Kalkbrenner, Chopin; among many others. I almost always work with music in the background in my workshop.

We’ve sold the first Mistral you sent us, but you’re already working on the next one. Can you share a few details about the upcoming Mistral for Dream?

I have some pics of the guitar in progress for you, but it is at a pretty early stage right now. I am currently gluing the bracing on the top and back, and I have not started assembling the rim yet. The features of the upcoming Mistral are high-grade Sitka Spruce top, Quilted Sapele back and sides, Florentine cutaway, Ebony bindings, and Honduran Mahogany neck. 25.4″ scale length, Ebony fingerboard and bridge, Schertler tuners (or Gotoh 510 maybe), and a raised fingerboard.

Quilted Sapele

Sitka Spruce Top

June 17, 2017/by Jennifer Regan

New Builder Profile: Sam Guidry

Luthier profile

Paul attended two shows last year, the Santa Barbara Acoustic Instrument Celebration and the Woodstock Invitational Luthier’s Showcase, and there he met a number of new builders with some truly awe-inspiring builds. Naturally, we took several of them on as new builders for Dream Guitars! Alongside Michel Pellerin and Loïc Bortot (of Bouchereau Guitars), we’re also proud to have added American builder Sam Guidry to our ranks! We have one of his big-voiced Jumbos in the shop right now, which you can find on out site here: https://www.dreamguitars.com/detail/5400-guidry_sg2_2016/. In addition, we’d like to share his responses in a brief interview we conducted with Sam earlier this year.

One last thing! We recently hosted absurdly virtuosic guitarist and composer Clive Carroll at Dream for some video performances, and Clive recorded an original composition, “The Prince’s Waltz,” on Sam’s SG-2. You can find that video here: https://www.youtube.com/watch?v=EUYXHmQUXhY. Clive was kind enough to offer us a copy of the TAB as well, which you can find here: https://www.dreamguitars.com/tab/The_Princes_Waltz.pdf. Enjoy!

What or who inspired you to begin building guitars?

In high school I was on the college prep course with all the intention of going to university and becoming a “normal” person. Shortly after graduation, one of my best friends was killed in a car accident which sent me into an existential depression. I didn’t want to go to college, I didn’t want to get off the couch! After about two months of that routine, my mother found Bryan Galloup’s luthiery school on this thing called “the internet” (it was 1998 by the way) and she wouldn’t let me waste away on the couch, so my parents shipped me off to learn luthiery. My goal was to learn to do a good set up and then return back home and work in a music store. Then I made my first acoustic guitar. Even though I was not an acoustic guitar player, the experience changed me. I knew that I had found my calling.

2016 Sam Guidry SG-2 Birdseye Maple & Engelmann Spruce

What builders inspire you today?

I try not to be too influenced by any one maker, but for inspiration I often turn to Michihiro Matsuda. He gave a talk at a Northwoods Seminar at our shop which centered around the idea of taking ideas and growing them; at least that’s what I took away from it. To think that the guitar doesn’t have to be anything really makes you free as a designer. I do not do the kind of work he is known for, but in my own way, I am trying to always be thinking and moving forward.

Please describe your goals in voicing an instrument. How did you first find your voice, and how do you continue to experiment?

My goal in voicing an instrument is to make an instrument that responds quickly, with clarity and balance. My method is different from most as I take a scientific approach that begins with rigorous material testing and leads up though precise tuning of body resonances. This approach was developed between Bryan Galloup and I over the last 15 years that we have worked together. We started researching how to control our voicing because we would build two guitars with the same materials and they would sound different. Over the years we would build and test, and build and test some more, each time learning a little more of the secrets the guitar holds. All of this research led to a voicing method that gives me a high level of control over the voice of the instrument. There is always more to learn, and currently I am studying the effects of higher order modes of vibration of the perception of tone.

Birdseye Maple Headstock with Ebony Inlay

Where do you think your building style will take you in the next five years?

I have been trending towards a minimalist style lately. I used to be obsessed with purfling, but I have been paring that away and looking for new ways to embellish my instruments. I will probably continue that trend for a while, but who knows when inspiration will strike!

Any interesting facts about your building process or shop arrangement?

I have a unique shop arrangement as I am the senior instructor at the Galloup School of Guitar Building and Repair. Firstly, this gives me access to a world class shop many folks would be envious of. Secondly, as a teacher it forces me to understand each process to the nth degree so I can explain what is happening to my students. This arrangement also gives me the time and incentive to develop new, more effective techniques to push the art of lutherie forward.

2016 Sam Guidry SG-2 in Birdseye Maple & Engelmann Spruce

What was your favorite, or your first, instrument that you ever played?

I have always been a guitar man. I received my first guitar for Christmas in 1994 (an Ibanez Iceman) and I have never looked back.

What do you enjoy doing outside of building instruments?

Aside from building guitars, I have two beautiful daughters, 10 and 1 ½ years respectively, that keep me busy outside of the shop.

If you had not become a guitar maker, where do you think life would have led you?

My path to becoming a guitar maker has been almost accidental, seeming to be in the right place at the right time at key junctures in my life but if I wasn’t a luthier, I would probably work in retail, maybe a chapeau shop like “what size are you, sir, 11?”

What music are you listening to right now?

I used to be a big jam band fan but lately I have been getting into progressive metal. I really like a band from the UK called Haken and I am getting into the band Animals as Leaders lately as well.

May 23, 2017/by Jennifer Regan

New Builder Profile: Michel Pellerin

Handbuilt Guitars, Luthier profile, Paul's Pick

Paul attended two shows last year, the Santa Barbara Acoustic Instrument Celebration and the Woodstock Invitational Luthier’s Showcase, and there he met a number of new builders with some truly awe-inspiring builds. Naturally, we took several of them on as new builders for Dream Guitars! Alongside Isaac Jang and Loïc Bortot, we’re also proud to have added Michel Pellerin to our ranks! We have one of his big-voiced Jumbos in the shop right now, which you can find on out site here: https://www.dreamguitars.com/builder/501-pellerin-guitars/. In addition, we’d like to share his responses in a brief interview we conducted with Michel earlier this year. Enjoy!

What or who inspired you to begin building guitars?

When I was in college studying jazz and classical music, I was in a guitar ensemble class. I was 17 years old. There were 30 students in the same room, all with their personal guitars, and I discovered that there were so many different sounds, levels of volume and tone. Mine was one of the worst in every aspect, an all-plywood Sonata classical guitar (I’m not proud of it, but it is what I could afford at this time). The year after that I applied to the Quebec National School of Lutherie with the thought of building two nice guitars for myself. I didn’t plan on guitar building becoming my career at that time.

2016 Pellerin Jumbo in Engelmann Spruce

What builders inspire you today?

Without any hesitation, Mario Beauregard is the one! I have always loved his artistic taste and his classy lines; always astonishing. The first time I really played one of his guitars (an OMC Blackwood/German spruce I remember like it was yesterday), I realized that perfection could be achievable.

Please describe your goals in voicing an instrument. How did you first find your voice, and how do you continue to experiment?

My goal is to have a balanced instrument. Strong and defined bass notes, but not too much, a wide and even midrange, and clear and rounded trebles. Highs with an envelope, not harsh, and sparkling harmonics. All of this with nice bloom and long decay, like a grand piano. Of course, I can adjust these qualities regarding what the musician needs.

Birdseye Maple Heelcap, Wenge Bindings

Where do you think your building style will take you in the next five years?

I have had a wonderful evolution since 2011, when I took Ervin Somogyi’s plate voicing class. Since then, my guitar tone has improved a lot due to refining my bracing, recording data, tuning tops and backs to a specific note, and minimizing energy loss. My goal is always to maximize evenness, tone, and volume for a wonderful playing experience. In the next five years, I hope to achieve what Mario Beuregard is able to do in his instruments today. I don`t mean to copy his voicing or his guitar building, but to learn to know exactly how a guitar will sound before closing the soundbox. I want to be able to know where to carve to remove a wolf-note, or how to mitigate a boosted frequency. I want to achieve what I would call “Anticipated Fine-Tuning.” Of course, studying with him would be a dream come true.

Any interesting facts about your building process or shop arrangement that you’d like to share?

I work in my shop with my friend of almost 15 years. François Paradis is a luthier specializing in oriental music. He`s a multi-instrumentalist and a djembé music teacher, but mostly an Indian sitar player, left-handed, and…he’s got perfect pitch. What luck I have to have him in the shop! I like to try and test different woods, different bracing patterns, but, always following my tone. Even a guitar with 6 or 12 strings or a multi-stringed instrument such as a harp-guitar (one of my specialties), a Pellerin will stay a Pellerin to your ears.

2016 Pellerin Jumbo in Birdseye Maple

What was your favorite, or your first, instrument that you ever played?

The first instrument I received from my mother was an EL Dégas electric guitar. I was 15 year old. It was not the best guitar, but I wasn’t able to leave it alone. I slept with it. I only stopped playing when my fingers hurt. I loved this guitar so much.

What do you enjoy doing outside of building instruments?

Playing (and camping in the summer) with my children; I have two (Florence, 7 years old, and Jérémie, 11 years old). Training myself (running outside, hiking, gym, crossfit). I’m fascinated by ancient cultures like the Mayas, Incas, and Aztecs. I love sushis (making them and most of all eatting them!). I love to travel and discover other cultures, especially for food!

If you had not become a guitar maker, where do you think life would have led you?

I would say: technical designer on Solidworks, Autocad, etc., a CNC operator, or maybe a mechanical engineer.

What music are you listening to right now?

I love a lot of different styles. Snarky Puppy, Steve Vai, Michel Cusson, Justin St-Pierre, Antoine Dufour, Stephen Bennett, but also Gentle Giant, Yes, Mr.Bungle, NOFX, Metallica or Animals as Leader, depending on my mood. Right now, I have Marie-Mai (a Quebec female singer) in my car’s CD player…my daughter’s choice.

March 9, 2017/by Paul Heumiller

New Builder Blog Profile: Isaac Jang

Luthier profile, Uncategorized

February 2, 2017/by Paul Heumiller

It’s Show Time!

DG Updates, General Interest Guitar, Handbuilt Guitars, Incoming, Luthier profile

Our Experiences and Take-Aways from 2016’s Santa Barbara Acoustic Instruments Celebration & Woodstock Invitational Luthiers Showcase

People often ask us how we find all the splendid guitars that we offer. Of course we have numerous methods for finding these fine instruments, but one of our most exciting avenues is attending guitar shows. Each year there are a few great shows that feature custom guitars by independent luthiers, often working in one-man workshops and with an unparalleled attention to detail. Dream Guitars owner Paul Heumiller recently came back from two such shows, the 2016 Santa Barbara Acoustic Instruments Celebration and the 2016 Woodstock Invitational Luthiers Showcase. Heumiller: “At these shows many of the top luthiers in the world display several of their most recent developments, which gives us the rare opportunity to play a few different models of each maker. Being able to play more than one at a time is key for us at Dream Guitars, because it gives us a chance to honestly evaluate newer makers and evaluate their builds for consistency and quality of tone. It’s also important to meet up with established makers that we already work with in order to pick out our new favorite instruments to bring back for our clients.”

These shows invite between 80 and 120 guitar makers and are open to the public, which is another reason that we like to attend. Heumiller again: “It’s a joy to finally meet clients that I’ve been working with on the phone and over email for years. The shows are a great opportunity to see the faces and shake the hands of clients with whom I’ve worked for the past 20 years. It’s a part of the business I truly love, since guitar people are all great folks and we all have so much in common. I’ve made several dear friends while running between the shows over the years.”

As we mentioned earlier, the shows are one of the key ways that we discover new talent. This year was an exceptionally rich one for identifying younger makers that had something worthy of the Dream Guitars name. At most shows we expect to perhaps find one new builder that impresses us, maybe two, but this year we found no fewer than six! Heumiller again: “I think the fact that there are so many stellar young builders has a lot to do with the sharing of information these days. Young makers have so much access to good information that if they have talent they can much more quickly reach a high level of quality both in terms of construction and tone.”

At the Santa Barbara show we invited Hollywood, California-based luthier Isaac Jang to join us. “I’ve been watching been him for some time now, and at Santa Barbara his OM just blew me away; the timing was right to start a relationship. Jang’s work has impressed me for years, and during that time I gave him advice and my honest opinion of his work. This year he did something about it, so we decided to purchase the Brazilian Rosewood-and-German-Spruce OM that he’d brought.”–Heumiller. We were also delighted to learn more about Jang’s past, namely that at age 17 he asked Kathy Wingert for an apprenticeship. Kathy wisely told him that he had to graduate from a lutherie school, get a job working in guitar repair, and then come see her. Isaac did all of that by age 19 and returned to Kathy’s door. He apprenticed with Kathy for a number of years, and it shows. Isaac is now a teacher at the Musicians Institute in Hollywood.

While we were there we also made good on our long-standing respect for Michel Pellerin of Canada by offering to represent his work–and we brought back a beautiful Sunburst Jumbo he had recently finished. In addition, we met the truly inspiring creations of Benoît Lavoie. None other than Pierre Bensusan bought Lavoie’s guitar which we planned to get after the show! We are delighted at Benoît’s success; just goes to show we have good taste if Bensusan beat us to the chase, and we’ll wait until the next one is finished.

We also got to see the new work of Noemi Schembri from Italy. The tone of her guitars mesmerized us at Santa Barbara, and by the time we saw her again in Woodstock we simply could not resist any longer: we brought back an Madagascar Rosewood SJ and a Koa Baritone.

In Woodstock we were introduced to the inspirational work of Canadian builder Loïc Bortot (of Bouchereau Guitars fame). After playing a few of his instruments, it was clear why he graduated first in his class at Quebec City’s National Lutherie School, and is now a teacher there. From that week we brought back his wonderful slotted head Mistral model. Speaking of teachers, we were also able to connect with Sam Guidry, a teacher alongside Bryan Galloup at the American School of Lutherie, and get one of his Maple OMs for the shop. Paul: “Bryan told me I had to look at Sam’s guitars, and I’m really glad I did. I’ve long respected Bryan, so when he tells me about someone new, I listen. At Woodstock I got to spend a lot of time with Sam after events; he’s a great fellow to be around, and he’s incredibly passionate about his craft. As soon as I played this Maple guitar I fell in love. It’s voiced for a big, round attack with superb clarity across the registers–which is why I’m stoked to get in the shop!”

Paul: “The other aspect of the shows that is pure joy for me is seeing my old friends that I’ve known for many, many years. Many of them I met as young upstart builders when I first opened Dream Guitars’ doors, and they’re still building guitars today. The many dinners and glasses of wine from bygone years allow us to really get to know each other as human beings that share a common passion in the art of the guitar.” This time around it was wonderful to make a new friend in Richard Hoover, the founder of Santa Cruz Guitars, and Joe Glaser a repairman beyond compare. Paul: “I was delighted when Richard Hoover asked me to introduce him to a few talented young makers. He was beaming over the fine work of Isaac Jang and Leo Buendia like a high schooler opening his guitar case for the first time. Clearly the passion is still inside of Richard, and he so gracefully complimented his younger peers on their fine work. He told me later that ‘just when he thought we’d gotten this guitar making thing down these new guys come along and make it harder again with their new ideas!'”

The one common thread that binds these young makers together and excites us so much is their open mind, open heart approach to the craft. They don’t just want to build good copies of guitars, they want to push the envelope in all the right ways and create innovative musical tools to inspire musicians in ways not yet known to us. Paul: “This is something you can’t just feel by just looking at their guitars necessarily, but trust me: as I dined with these folks and taste tested dozens of their guitars I could feel the boundaries they were pushing and hear the voices they were pioneering.” These new builders are seekers chasing down their crazy dreams–while they fulfill the dreams of players the world over. We are beyond excited to consider what will become of the guitar world in the years to come. This is the golden age of guitars, and it’s not stopping any time soon. Let’s hang on and enjoy the ride!

November 18, 2016/by Paul Heumiller

1930 Martin 000-45 In The House!

General Interest Guitar, Paul's Pick, Uncategorized, Vintage Guitars

Dream Guitars has the ability to reach out and pluck those dream guitars from out of the air, where mere mortals are unable to find recordings of these beasts, let alone actual guitars. Paul’s kept himself at the center of the world of high-end guitars for 17 years now, patiently building his knowledge base and making connections between players, builders, and collectors, diligently placing new voices into practiced hands, providing discerning clientele to inspire luthiers, and reuniting collectors with the instruments of their childhoods, or their parents’ childhoods. As a result, Dream Guitars has become one of the focal points for preserving the world of fine lutherie and maintaining the market for anyone with a voice or a guitar model at stake.

Accordingly, Dream Guitars is exactly the place you want to come to if the instrument you’re looking for is off the beaten path (just look at the country roads that lead to our showroom), masterfully constructed and exceedingly rare. When one of our clients came to us with his collection of Holy Grail guitars, Paul was more than ready to help out. One quick flight to New York and a careful car trip back, and Dream Guitars has now gotten a hold of three irresistably collection-worthy instruments: a 1935 Larson Brothers Prairie State 15″, a 1938 Larson Euphonon Dreadnought, and the grand master of all–an all-original 1930 Martin 000-45! This last one is particularly difficult to find: there were only 21 made in 1930. Add to that the voice, with all its 86 years’ of music, and the completely original state of its parts (right down to the cast iron key for the case), and the chances of finding a guitar like this in the wild are nigh impossible.

Valued at $135,000, this Martin is an incredible find, and Paul was able to line up a buyer within a matter of days. Soon the chalice will be passed and this Holy Grail guitar will be en route to its new owner. In quick order, the Larson Prairie State also sold as well, and both guitars are going to trusted clients who respect the historicity of these instruments. This is what it’s all about for us: connecting players and collectors across state lines (and national borders) to foster a healthy market for the exchange of these irreplaceable instruments.

Before we let this one go, however, Paul wanted to compare it with some of the contemporary voices that we have in the shop, so we set up a little taste test between the 1930 Martin 000-45 and a McConnell 16 Inch, Matsuda M1, a Traugott R, and a Wingert 00. Here’s Paul:

“The taste test was really fun. Dream Guitars is well known for representing many modern makers who are moving toward something different than traditional, vintage voicing, who instead search for new, individual forms of expression and musicality by chasing the fascinating new ideas in their heads. It’s wonderful to have a chance to play many of these prewar Martin guitars because they are quite different from these contemporary builds. On the one hand, it’s nearly impossible to replicate what happens to a guitar after 80 or 100 years of being in the world. The finish gases off or is worn off, and the wood dries out while millions of notes vibrate through its fibers. This chronological process yields a distinct kind of energy and body–something that contemporary builders of traditional styles are seeking to recreate. A similar, but distinct quality of energy can also be found in the very finest modern guitars, even after just one year of being played in and opening up.

The advances in bracing and voicing for the modern guitar, I believe, allow us to get closer to a sound that’s comparable to these prewar instruments, but much earlier in the guitar’s life. I attribute quite a lot of these advances to one simple thing: how much time each builder spends on one guitar. If they take their painstaking time to consider whether or not to pass the top through the thickness sander one more time, or to take one more pass with a chisel at the scallop of a brace. Constantly tapping the wood and striving for their own unique tone. To me that’s why you can pick up a recent McConnell, Traugott, Tippin, or Somogyi, to name a few, and feel the same sort of inspiration you feel from one of these outstanding vintage Martin guitars. It’s not the same voice, but the combination of so many advances in construction and voicing definitely allow these new instruments to compete on the same field as Holy Grail guitars. I truly believe we are in the Golden Age with dozens of makers building their own versions of luthier history.”

Click Here to Learn More about this Historic Guitar

November 1, 2016/by Paul Heumiller

EVENT CALENDAR

News & Events

We at Dream Guitars welcome you all to come join us at our Concerts, Guitar Clinics, Setup Saturdays and other events throughout the year. Come visit Dream Guitars and the wonderful Asheville area!

Upcoming concerts to be announced. Please check back soon.

August 3, 2016/by Paul Heumiller

Restoring Faith In A Holy Grail Guitar

DG Updates, General Interest Guitar

With vintage instruments, there’s simply no telling what patches and pokery you’re going to find under the hood. Good news! Dream Guitars is well-acquainted with those surprises, and we know just what to do when they crop up. Recently, a client and collector came to DG with several obscenely rare Martins, among them a 1930 OM-45 that he was concerned was too quiet. Once Paul Heumiller got his hands on the guitar, his ear told him something was definitely awry. Having played many of the “Holy Grail” Martins for the 20s and 30s, he’d expected to hear a energetic voice with vigorous projection, but this guitar sounded timid, with a bad case of congestion.

Paul immediately suspected that the bridge plate had been modified, and after plumbing the depths of the OM-45 with a flashlight and a mirror, his suspicions were confirmed: glued where the original bridge plate should have been was a massive (over 3″ wide) modified bridge plate! It was probably installed in an effort to combat the tendency of the top to belly up as the string forces enact continual upward stress for years, over-doming the top around the bridge. On the one hand, the girthy bridge plate worked perfectly: this more-than-80-year-old guitar had very little belly to its top, unheard of at its age. On the other hand, the voice was something between a Chevrolet sputtering tailpipe fumes and a cat mewling in the rain, the top’s vibrations were so severely dampened.

We assured our client that this was a problem that we could handle. Enter: Ken Jones, veteran of instrument restoration, who approached the repair with zeal as he prepared to remove the bridge. However, the situation was about to get more interesting, once the bridge was released. Underneath, where there should have only been a pale, unfinished Spruce top, there was a nasty black patch of Spruce and scaly epoxy. After repeated attempts to steam this patch free proved ineffectual (due to the epoxy’s high heat resistance), Elliot W. took chisel in hand and meticulously pared away the noxious epoxy with “surgical precision and the serenity of spirit that work of this caliber demands,” says Jones, finally releasing the Spruce patch.

What’s next on the agenda? Ken: “Cleaning up the inside of the top, making a smaller, thinner bridge plate, and using our belly-reducer cauls to further sweet-talk the top back into shape. I have no doubt this will improve the voice of this guitar. This is a really cool, fun, and interesting repair that reminds me why I got into repair work in the first place–keeping these old dogs going because they just sound better and better with age!” In addition to releasing the bridge, releasing the pickguard helped reduce the amount of belly dramatically, making us very confident that this top will settle down and behave beautifully, once we’re finished here.

Stay tuned as we continue to make good on the original bad repair of this 1930 OM-45! If reading about the magic of instrument restoration strikes your fancy, just you wait: we’ve got more exciting repairs on our bench, and we’re itching to bring you along for a play-by-play.

Update: July 25, 2016

The last time we checked in, this 86-year-old Martin had been divested of a poorly-executed repair that was compromising its top, with the last of the lingering epoxy scraped clear and the massive bridge plate and patch removed.

Much has happened since then! After brainstorming and consulting with other maestros of the repair world, Ken Jones and our team have landed on an elegant solution to simultaneously reinforce the top, fill the rectangular hole between the bridge and the bridge plate, and create a consistent platform to reglue the original ebony belly bridge: combine the patch under the top with the plug into one patch-plug.

Spruce stock has been carefully trimmed to exactly fit inside the braces, then excess spruce has been routed away from the plug portion. The thickness of the top of the OM-45 is about .112″, so this piece was thicknessed to .168″ or 1.5x the thickness of the top.

Next, the thickness of the top (.112″) was routed away everywhere on the patch, except for where the patch will fill the hole in the top.

Before we could even consider starting on this exciting new leg of the repair, we first needed to patch the sections of the X braces where the previous colossal bridge plate was notched into them. If we hadn’t addressed those gaps, the top would have been at significant risk for further deformation. That finished, we then moved on to the spruce blank itself, shaped to fit between the newly-repaired X braces. The top of this Martin OM-45 is .112″, so the spruce blank was sanded to .168″, or one and a half the thickness of the top, so that, once installed, the plug would sit slightly proud of the surrounding top. After transferring the shape of the rectangular hole in the top between the bridge and bridge plate to the blank, we then carefully routed the surrounding material until the “plug” part of the patch was .168″, and the surrounding spruce was .056.

Then, the location of the bridge plate was marked out on the underside of the patch, and the patch was then sanded from that point of contact to paper-thinness at its edge to minimize mass and allow the original top to vibrate as freely as possible without jeopardizing its structural integrity.

An edgewise view of the tapered back end of the spruce patch.

After looking at these photos, you might be asking yourself, “Why is that thing so wide?” The patch-plug has a large surface area in order to increase the amount of gluing area for the patch-plug, meaning that the patch-plug is glued to the underside of the top in addition to being glued to the end-grain of the sides of the rectangular hole left by the previous repair. By itself, an end-grain glue joint is inherently weak. However, with the additional gluing force of the lower section of the patch against the underside of the spruce top, we’re confident that this new patch-plug won’t pull up, which was the problem with the epoxied patch from an earlier repair which we had chiseled out. The large surface area of the patch-plug also provides a little more reinforcement to combat the bellying that was present when the OM-45 first appeared on our bench.

The patch-plug was then carefully scored partway along spring growth grain lines (which are softer) and broken into three pieces that equally divided the plug in order to fit into the soundhole, with blue tape on the back to act as hinges.

The “top” or the non-show side is scored about halfway through the patch with a sharp blade The score lines are in the soft, spring growth grain. Next, it is broken along those score lines. This is to prevent a seam from showing inside the guitar once it is in place. Also, a break will help register all three pieces together cleanly inside.

The moment of truth came when we first folded the patch-plug and eased it into the soundhole before pressing it into place between the X braces. Turns out: a perfect fit.

So snug, it will stay in place on its own without glue or tape!

Once we knew the dimensions of the patch-plug were exactly what we wanted, we then made several cauls for the top and bottom, and aged the new spruce patch-plug with Potassium Permanganate in order to make it blend in better with the surrounding 86-year-old spruce.

A special set of inside clamping cauls are mad to fit the patch.

Now, a test fit is all fine and dandy, but it’s another matter entirely when the moment of the actual glue-up arrives. This time, everything must to be perfect. In keeping with tradition, we used hide glue and several cam clamps and deep-throated C clamps with the cork-lined cauls to cement the patch-plug with the original top. Hot hide glue is absolutely essential for a repair of this nature, where even clamping pressure is key, and hide glue’s ability to pull the wood tighter and tighter together as it cures helps ensure that the joint is airtight and even. Moreover, hide glue is tonally superior to rubbery aliphatic resin-based glues–but this comes at a price: a very short working time. Thus, appreciate how cool-headed and savvy is our repair staff: we were able to evenly spread glue on the patch, fold the patch, get it inside the guitar through the soundhole, unfold it, put it into place, then precisely arrange three cauls and five clamps inside a tiny soundhole, working by feel, before the hide glue could gel!

Only hot hide glue will do for a repair like this. Even clamping pressure is key.

From the initial dry fit to the actual glue-up, this patch-plug was a star patient, and we’re quite happy to report that everything fits snugly, and the plug sits just slightly proud of the surrounding spruce.

The plug ended up just proud of the top so it can be sanded down to level.

Next on the docket? Sanding the plug flush to the top, then levelling the entire surface under the bridge. This last step is crucial and delicate: without a consistent gluing surface to attach to, the bridge will invariably pull up again.

As the work progresses and we get closer to refitting the bridge and restringing this Holy Grail Martin to its former glory, we’ll post more photos with each swipe of the sandpaper. We’re getting very close to hearing what it sounds like to right the wrong of that gruesome earlier repair! Dream Guitars’ owner Paul Heumiller’s ears will be the true test, once he compares the choked chords of the first time he strummed this OM-45 to its newly-restored self.

July 24, 2016/by Paul Heumiller

New Arrivals at Dream Guitars

Uncategorized

Following are a few highlighted new arrivals here at Dream Guitars. Please click on any of the links or images below for more details on each guitar. Feel free to call the shop as well to further discuss any instrument 828-658-9795. Click here to view all additional new arrivals at Dream Guitars.

2009 McCollum J Malaysian Blackwood/Italian

2013 Musselwhite D Brazilian/Appalachian

2002 Kim Walker SJ Indian/Sitka

2007 Bourgeois Custom OMS Macassar Ebony/Italian

2005 Bourgeois OMS Indian/Adirondack (Red)

2010 Keller Jumbo Indian/Engelmann

2005 Keller Jumbo Koa/Engelmann

Please click on any of the links or images above for more details on each guitar. Feel free to call the shop as well to further discuss any instrument 828-658-9795.

July 15, 2016/by Paul Heumiller

Incoming Preston Thompson 000-14BA Custom

DG Updates, General Interest Guitar, Handbuilt Guitars, Incoming, Luthier profile, Paul's Pick

Early in 2015 I had the pleasure of playing my first Preston Thompson guitar. I was mesmerized by the warm and full voice that came out of the small 000 sized body. I remember Al Petteway and I talking about how magical the voice was. The build quality was also perfect in every detail.

I reached out to Preston and asked him to make us a Dream Series instrument. This is something we have only done with approximately eight to ten builders over the years. I very much look forward to seeing and hearing the first of many Thompson guitars. I’m certain our clientele will absolutely love them.

Following are a handful of specs featured on this incoming Dream Series guitar:

Top: Adirondack
Back and Sides: Brazilian Rosewood
Binding: Brazilian w/BW purf
Top Purfling: Herringbone
Rosette: Abalone 3-Ring
Back Strip: 45 Style
Tail Wedge: Brazilian w/BW Purf
Neck: Honduran Mahogany
Headstock Binding: Brazilian w/BW Purf
Headstock: Slotted
Neck Binding: Brazilian
Nut width: 1 3/4”
String Spacing: 2 5/16”
Heel Cap: Brazilian

This one is currently available for purchase here at Dream Guitars – Please call the shop for more information 828-658-9795. Following are a few additional early images of this beauty coming together as well:

For more information on this incoming Preston Thompson 000-14BA Custom please call the shop 828-658-9795.

Update 7/18/16:

Here are a few new pictures of this beauty as it comes along:

Update 7/27/16:

Here’s a great video of the Brazilian binding coming together on this incoming Thompson – Enjoy!

June 15, 2016/by Paul Heumiller

Sorry, Folks: This Seat is Taken.

DG Updates, General Interest Guitar, Handbuilt Guitars, Luthier profile

Kim Walker Waiting List Closed Again

A luthier’s ability to succeed depends on a host of factors, not the least of which is their reputation, which can be a precarious thing. They need good tools, the best wood, a perfectionist’s disposition and a jeweler’s eye for detail. They need to be self-motivated, marathon woodworkers—and they need to be able to deliver on their promises. A luthier with a reputation for incomplete builds and exorbitant delays will not be long for the world of fine instruments. If, however, you have a reputation as ironclad and golden as Kim Walker’s, then you might just find yourself with eight years’ worth of builds on the calendar, and what do you do then? Close the book, and get down to business, which is precisely what Walker’s just done—again.

How has Walker achieved such a legendary status? Through years of honing his ears and his hands with an unwavering dedication to lutherie. Starting with George Gruhn and his repair shop, then graduating to Guild’s R&D department and custom shop, before launching his own Walker Guitars label in 1994, Walker has been at the forefront of both vintage restoration and contemporary innovation for his entire career. As such, Walker is one of a very select group of luthiers who successfully straddle the line between traditional and contemporary guitar building, the result of which enables his instruments to appeal to all audiences, from pre-war Martin collectors to the devotees of bleeding-edge luthiers like Steve Klein and Ervin Somogyi. It should come as no surprise, therefore, that Walker has felt the need to close his waiting list again, in order to buckle down and dedicate his complete and undivided attention to the guitars already on his bench. Because Kim insists on working alone, he is able to ensure that every aspect of these guitars is 100% an expression of himself and his art. His way isn’t a school’s, or a builder’s with apprentices: this is one man with two hands, premium wood, and a studio space in which to create.

Given his sterling reputation and master skills, it’s hard to put a price on an instrument of this calibre, and as the opportunities to own one of Kim Walker’s guitars become fewer, the respective worth of any one of his instruments is correspondingly increased. The resale value of a Walker often exceeds the original cost of the instrument (a fact Walker himself notes on his website) because demand is so high: no one wants to get rid of theirs, once they’ve managed to beg, borrow, and steal to get it in their hands in the first place. In the world of high-end guitars, a Walker is worth its weight in gold, and nearly as rare. Will Walker open up his waiting list again? That’s certainly the hope, but who knows just how many years in the future he’s already booked himself: it could be a lifetime in the waiting.

2003 Walker Guitars SJ in Brazilian / Adirondack

May 5, 2016/by Paul Heumiller

Dream Guitars & The Golden Age of Lutherie

DG Updates, General Interest Guitar, Handbuilt Guitars, Luthier profile, News & Events

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.

[i](http://www.oxforddictionaries.com/us/definition/american_english/golden-age)

January 21, 2016/by Paul Heumiller

Another Henderson has emerged–The Apple Doesn’t Fall Far from the Tree

Handbuilt Guitars, Luthier profile

Elle (Jayne) Henderson, daughter of Wayne Henderson, has decided to follow in her father’s footsteps, yet still make her own path. A few years back, Elle decided to take a pause from pursuing a career in environmental law, and instead learn the craft of guitar-making directly from her father.

It is clear that Elle Henderson grew up around guitars and her father Wayne’s workbench. But it’s easy to sense that she has her own dreams and desires for her instruments. Obviously Elle has a massive amount of respect for her father’s legacy, and in some ways wants to preserve that in her own work. However, there is a new twist to Elle’s work propelling her into her own standout brand.

Inlays on a 2015 EJ Henderson Slope Dreadnought

For instance her love of inlay artwork. Elle sees the guitar as a canvas for expression in a less traditional way than her father might. Her appreciation of the intricacies and detail of inlay work shines through and is clear in the end-product. As she explains on her blog on Luthier’s Apprentice regarding inlay, “I also enjoy attending to the minute details of shaping a piece just right, first with the saw and then with a tiny file, and I appreciate the challenge of routing a space in which the pearl perfectly fits.”

Elle is also interested in using more sustainable woods – something we are all inspired by. She is striving to use hardwoods such as local Maple and Walnut rather than the more exotic woods. She is aiming to build instruments that provide similar sound and beauty as those boasting a Brazilian Rosewood back and sides, but with fewer environmental impacts.

Elle (Jayne) Henderson

Interestingly, Elle’s pursuit of learning the craft began from her drive to be closer to her father. We can all relate to this in one way or another. Wayne’s demands of his career made it more difficult for the two of them to spend time together. While there is clearly a lot of love and respect between the two, life got in the way a bit for them to spend the amount of time they may have wanted in earlier years. By making the decision to pause her career in environmental law and become a luthier, she has taken a big step in getting closer to her father. Building guitars has now given them both another chance to spend time together, learn more about each other, and create an amazing legacy that spans generations.

Elle’s passion for learning, her commitment to family, and her drive to create beautiful guitars propels her to protect the family tradition and build upon it. We are very excited to see what new creations will come up out of the next Henderson to join the scene.

2015 EJ Henderson Slope Dreadnought

We were also very excited to learn that Elle is setting up her shop right here in Asheville, North Carolina just a few miles from us at Dream Guitars: we look forward to a long and close relationship to create some very special instruments together.

Be sure to follow Elle on her blog on Luthier’s Apprentice here

Also, like her Fan page on Facebook here

January 8, 2016/by Paul Heumiller

Q&A with Luthier Al Beardsell

DG Updates, General Interest Guitar, Handbuilt Guitars, Luthier profile, Paul's Pick

We had the privilege of catching up with renown Canadian luthier, Al Beardsell and asking him a few questions on his building, interests and background. Following were his responses to our questions for him:

Q. What inspired you to begin building guitars?

A. My Dad, his workshop, my brother, Bill Lewis Music, Larrivee and Gurian guitars – probably in that order. My Dad was an amateur furniture maker, so I learned from him that if you want something done a certain way, do it yourself. My brother, who was a serial obsessive, made some guitars in high school, got bored and moved on to beer-making (he’s still a master brewer to this day). I swiped all of his guitar-making books, “borrowed” all his tools and wood, and got started. This brings us to Bill Lewis Music in Vancouver. In the 70’s, Bill had a music store that also supplied instrument building materials, plans and tools. They also carried handmade guitars by Larrivee and Gurian, which I guess was a defining idea for me that you could actually make these things. This totally blew my mind – something so beautiful to look at and sound so beautiful. I was totally hooked.

Q. What builder(s) do you admire?

A. This is a long list but if I had to shorten it, a few standouts would be Pons, Lacote, Martin, Loar, Mario Macaferri/Selmer, Leo Fender, The Larriveans (Laskin, Manzer , DeJonge, Wren, etal), Collings. Builders who take an existing tradition and recontextualize it into something classic yet contemporary.

Q. How would you describe the voicing in your guitars? How did you find your voice?

A. Hmm, well the voicing is dependent on the needs of the player – a tighter sound, more open or separated notes, maybe more sustain for fingerstyle, maybe a darker sound – all these things are taken into consideration. It’s just years of trial and testing to arrive at where to make stiffer and where to remove stiffness, which woods to use, etc.

New Beardsell 3GMS/25/27

Q. Can you explain your approach to sound ports? Why do you use two?

A. My approach has always been to offer the player something they may not have heard before – like what the guitar actually sounds like. The sound hole does a few jobs like allowing free air movement in and out of the box, tuning the air mode fundamental by size of aperture, and coupling the reflective and sympathetic sounds of the back with the top. There may be more to it, but these are the parts that I’m mainly interested in. Originally, in order to make the opening large enough to have a similar area as a 4″ soundhole, I split the sideport into two. This had an interesting effect of broadening the areas of the box being monitored and simply enlarging the sound projected. Also, moving the soundhole off the top does reconfigure the structural stiffness of the top. The soundhole does create a loosening of the top that must be counterbalanced by grafts and braces. By reducing this loosening, we can make the top thinner and therefore lighter. The main goal of the sideports in my mind is the acoustic connection made with the player even in amplified situations. Many times I’ve played acoustic shows where all I hear is amplified monitors. This tends to give the player a compressed dynamic range and they will pay accordingly – at top volume always. Having some sense of the instrument’s natural dynamic range will mean the audience will benefit from the player. The size has been reduced over the years to drop the air mode and develop more bass.

Q. What do you enjoy doing outside of building?

A. Curling, yoga, fencing, playing rock, being a dad

Q. What inspires you today?

A. I’ve been very inspired by the local music scene in Winnipeg. A year and a half ago, I opened a new shop (the former Garnet Amp factory) that is open to the public. We do repairs and pickup winding, restorations and, of course, guitar-making. It’s a very different connection to the people who actually make music than the rarified environment of the luthiery shop.

Q. Where do you think your building style will take you in the next 5 years?

A. I’m looking at using more computer-aided design and control technology. I’m making more archtop electric guitars and pickups, and manouche guitars especially – my first love really.

Q. Which up and coming luthier impresses you the most?

A. There are a few in Winnipeg like Jordan McConnell, but he’s been around a while so he’s no pup! I’m always amazed by the amount of new talent, all doing very high quality work. My assistant Lucas Roger is going to kick ass any day now.

November 30, 2015/by Paul Heumiller

Enjoy FREE Live Demos

Book now and discover your dream sound

NEW Consignment Rates

Trade up discounts and more

FREE Digital Book Download

Sound Investments: A Guitarist’s Guide to Curating a Valuable Collection

A Builder, A Dealer, and A Player: Dream Guitars’ latest collaboration with Isaac Jang

New Builder Profile: Tyler Robbins

White Rose Auction for Puerto Rico Relief

Another Incoming 2017 Tyler Robbins R.1!

The Traugott Five: From 1994 to 2016

Canadian Lutherie Video Series with Jordan McConnell

Paul Heumiller on Michael Bashkin & Fretboard Journal’s “Luthier on Luthier” Podcast

Incoming 2017 Robbins R.1 Build

Incoming 2017 Bouchereau Mistral Build

Incoming 2017 Tippin Al Petteway Crescendo

New Builder Profile: Loïc Bortot of Bouchereau Guitars

New Builder Profile: Sam Guidry

New Builder Profile: Michel Pellerin

New Builder Blog Profile: Isaac Jang

It’s Show Time!

1930 Martin 000-45 In The House!

EVENT CALENDAR

Restoring Faith In A Holy Grail Guitar

Update: July 25, 2016

New Arrivals at Dream Guitars

Incoming Preston Thompson 000-14BA Custom

Sorry, Folks: This Seat is Taken.

Dream Guitars & The Golden Age of Lutherie

Another Henderson has emerged–The Apple Doesn’t Fall Far from the Tree

Q&A with Luthier Al Beardsell

Find Your Dream Guitar