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
