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Tag Archive for: Dream Guitars

There is nothing better than getting to know our builders, the creators behind these works of art we represent here at Dream Guitars. We had the amazing pleasure of discussing life and craft with Dontcho Ivanov. Following is our interview with the creator of the wonderous Snow Parlor. Enjoy!

LW: Hi Dontcho, first off Parlors seem to be a specialty of yours. What is it about small-bodied guitars that particularly interests you?

DI: Even if I currently build more full-bodied guitars than Parlors, I am still particularly fascinated by small-bodied instruments. Indeed, I have always been attracted to 19th century Romantic guitars, such as Stauffer, Lacote and Panormo, which are all small guitars. What’s funny is that I’ve always played full-bodied guitars, but I like the ergonomics of smaller bodies with their folkish voice. The tone is surprisingly big with sparkling mids. I look to give my parlors an open and balanced voice for acoustic blues and ragtime with a lot of sustain. The bigger version of my Snow Parlor, which has an almost 00 body, offers a little more bass response, which I like a lot. But in my opinion and in general, a small-bodied guitar should be light and reactive. It should resonate well in your chest!

LW: We’d love to discuss your introduction to guitar, as well as lutherie. When did you first start playing, and start building?

DI: I started playing classical guitar when I was 14 years old in Bulgaria, my home country. I was also playing electric guitar in a rock band. At 18, I got my first good classical guitar, a Paulino Bernabe student model, and fell in love with its sound. Because of that guitar, I decided to continue more seriously with my classical guitar studies. When I arrived in Montreal, where I live now, I studied classical guitar interpretation at the University of Quebec in Montreal and got my BA. Thanks to my teachers Alvaro Pierri and José Harguindey at that time, I had the opportunity to play many great handmade guitars. Two guitars impressed me a lot: one was made by René Wilhelmy and the other one by Daniel Friederich. It was such an eye-opener to realize how much inspiration you can get from a good instrument! I was 38 when I started building guitars and without a doubt my experience with those two amazing instruments still motivates me to build guitars that inspire and bring out the best in a guitarist. To me, it’s important to always be in contact with great instruments. That’s one thing I love about the many guitar shows I exhibit at. Aside from presenting my work, I have the precious opportunity to meet so many amazing and inspiring builders and try their guitars, which certainly contributes to my development as a luthier. To play your best you have to play a great guitar, and to make a great guitar you have to be in contact with great guitars.

LW: Walk us through your approach to voicing. Is there a particular tone or quality that you’re aiming for?

DI: To me, voicing is giving the guitar its soul, so this is one of the most important and intriguing steps in the process of building. It’s also one of the more complex. There is a lot to keep in mind when it comes to voicing, with so many things to consider. My bracing is based on the parameters of my teacher, Mario Beauregard. I also pay particular attention to how the soundboard and the back work together, the correlation between body size, bridge location and type of wood. In terms of sound quality, I am aiming all the time for sensitivity of the instrument, evenness between notes and registers, and of course, volume. 

LW: What, in your opinion, sets you apart from other builders?

DI: I feel like I share the same concerns as other luthiers, which is the sound of the instrument. For that reason, I don’t think anything makes me so different. But of course, everyone has their own approach and their particular style. I have heard people calling me “the maple guy.” It’s not a label I’m particularly fond of, since I’m drawn to all types of wood. In fact, if anything does set me apart, it could be my particular obsession with using the highest quality wood. This not only gives you the best acoustic results, but working with precious wood also hones your craft. In a nutshell, quality wood inspires your work to be its best, in the same way a great instrument inspires a player to play better and to evolve in his art. 

LW: Everyone has opinions about tonewood. We find most folks think Brazilian Rosewood is king, but you seem to build a lot with Maple and other Rosewoods. How do you feel they compare to Brazilian, or other woods?

DI: If Brazilian Rosewood is king, then Maple is a prince. It always seems fresher and younger in my eyes. But to me, it doesn’t matter so much what wood you use. What’s important is understanding what a particular wood can give, understanding its character and particularity and work it to bring out its full potential. Some types of wood are suitable for a particular use and others have a very wide range of applications. If a wood excels in qualities like stability, ease of work, visual appeal, if they smell good, and on top of that they have a particular resonance, these woods become precious to us luthiers, and we cling to them. To me, Maple is a precious tonewood, especially when I think about some European species. It’s been used for centuries by the European luthiers and appreciated for its frank and direct response. With Maple you can build responsive lightweight instruments, which I like a lot! That said, I love Rosewoods too: their smell, their beauty and of course, their complex and rich sound. For my OM model, I like to use Madagascar Rosewood, because it gives a rich and balanced tone with clear note definition with a lot of harmonics, perfect for many genres and styles of playing.

LW: What’s on your bench right now?

DI: First, it’s my new bench, since I have a new work space! Presently I’m working on two Romantic guitars, both commissioned, one classical with a cedar top, and one Snow Parlor 00, which I’ll exhibit in Berlin. When these are done, I have an order for a Flamenca blanca, commissioned by a very talented Montreal-based guitarist. 

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

DI: All my customers are my favorite players so yes, I have! That said, if Pierre Bensusan, Mark Knopfler, or Hugo Rivas called to commission a guitar, it would be a special thrill! As it is, I am content and fortunate to have built instruments for some really great and talented players. I feel very privileged to have such a great exchange. 

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

DI: It’s difficult to imagine doing something other than building guitars, but just before the lutherie bug hit me, I was in woodworking, building stage sets for a museum. If I hadn’t taken this path, I don’t think I would still be doing that. I like to think that I would be making a living at another of my passions, like maybe cooking. 

LW: What music are you listening to right now?

DI: Let me have a look at my playlist. Let’s see…here’s Carlos Garcia, pianist from Argentina, Roland Dyens, a French guitarist, here’s Debussy! and here’s also the new album of a good friend of mine – the very talented trumpetist and multi-instrumentalist, Miron Rafajlovic!

LW: In what ways do you predict your building style will evolve in the next five years?

DI: On the artistic side, it’s hard to say how my building style will change. I don’t worry too much about that aspect of my building. But I do have definite goals in terms of sound control and production efficiency. Currently, I build about six guitars a year, and I hope that in 5 years this number doubles. I have recently moved to a new workspace whose layout allows me to be more efficient in my production. This new workspace will also allow me to upgrade my system for collecting and retaining data about materials and their specificities. Improving my system of recording my observations and testing will allow me to streamline the voicing process and have a better control over my main preoccupation – tone design. It will be interesting to look back five years from now and see how far I’ve come in these areas. 

We had the honor of interviewing veteran luthier Dan Bresnan of Bresnan Guitars on topics including his craft, voicing, building style, and more. Please find following our full interview with Dan. Enjoy!

LW: After some time away from the bench, you’re back in action. Can you fill us in on your life journey from the intervening years? What took you away from building, and what brought you back?

DB: Beginning in 2015, I went through a series of very unsuccessful major surgeries. During the final of those surgeries, a surgical accident occurred which left me with a very serious spinal cord injury. As a result of that injury, I was unable to walk, play guitar, or perform many normal daily tasks. The rehab has been extensive, and continues to this day. It wasn’t until 2018 that I had sufficient motor recovery to confidently work safely in the shop again. Also at that time, My son, Sean, a Berklee College of Music grad, and a great luthier in his own right, joined me in my shop which took some of the pressure off on the more physically demanding steps. So, since 2018, Sean and I have been back at it, and having a lot of fun with it!

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

DB: I have been an active performer for several decades and Sean for almost 15 years. Our approach to voicing is rooted in what we ourselves look for in the instruments that we play. We voice our guitars for a deep, rich tone with even response across all the strings, as well as up and down the fretboard. In many types of fingerstyle playing, the bass strings drive the momentum of the piece, and a deep articulate bass is very important, particularly so when not using a thumbpick. When I first started building guitars, I experimented with many different elements. I always like to think of the guitar as a physics problem; how to build with as much stiffness as possible, with as little mass as possible. That approach to design led me to develop several techniques in bracing and structure that, as far as I know, are unique to Bresnan Guitars. The resulting voice has been the basis of our “sound” for quite some time. We do continue to evolve our design with new ideas and are always striving to make our instruments even better.

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

DB: Currently, we offer four models; OO, OOO, OM, and GS. Over the next five years, I see us adding to our model lineup. We’ve explored a number of ideas including some neat hybrid designs.

LW: Working with your son must be a unique experience. What is your working dynamic in the shop?

DB: Working with Sean has been awesome. Sean is a really talented luthier, with a great eye, and hand, for perfection. He challenges me on design and process issues and we have very lively debates at times! In addition to spending a lot of time in the shop together, we also spend a lot of social time together, hiking with the dogs, going to a concert, or taking in a movie and such. He’s my best buddy, so it’s very cool to be able to spend time with him at work in the shop as well.

LW: What do you enjoy doing outside of building instruments?

DB: I am a regularly performing guitarist and vocalist. So, most of my time outside the shop is consumed by practice. I am also a big hiker. We have four dogs, and we love hitting the trail with our furry buddies!

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

DB: Making music has always been the driving force of my life, whether through songwriting, singing, playing guitar, or working as an engineer in recording studios. I entered guitar building as an expression of my lifelong love for music in general, and for the guitar in particular. If I were not building guitars, I would be more deeply involved in these other avenues of musical expression, and most likely with a greater emphasis on performance. But, I’m pretty happy with what I’m doing right now.

LW: What music are you listening to right now?

DB: For the past couple years, I’ve been really getting into soul music. Soul and R&B music dominated the AM radio in my hometown when I was growing up. So, I already knew most of the tunes. However, at that point in my life, I had fallen in love with the acoustic guitar, and was heading more toward the Folk/Americana direction, so I don’t think I was able to really appreciate how amazing so much of it is.

LW: If you could choose only one tool to work on guitars, what tool would that be?

DB: A hand chisel. I love a direct connection with the wood, and that feels the closest, to me.

Reno, Nevada-based luthier Ben Wilborn has just embarked on an epic build–coming soon to a Dream near you. This time we’re looking at Ben’s Modified Dreadnought, his WarHorse model, with Brazilian Rosewood carbon dated to the late 19th century and Tunnel 14 Redwood on top. Add to that a cutaway, arm bevel, Curly Koa bindings, 25.4-24.9″ multiscale fretboard, and Visesnut flight case to the mix; if there are any stops left to pull for this build, it’s only a matter of time until Ben finds them. As he does, and the WarHorse approaches, we’ll keep you posted here!

3/27/19 Update from Ben: “the laminated sides are done, and built up into the finished ribs, complete with basswood arm bevel support and Kevin Ryan’s A-5 kerfing. The fingerboard is jet-black Gaboon Ebony, cut in a 25.4 to 24.9 multiscale. Moving right along.”

4/29/19 Update: Ben: “Woodworking is done. Into the booth we go!”

7/1/19: Nearly here! The WarHorse rises up, freshly glossy. It won’t be long before this beauty touches down at our doorstep.

Friends, here’s a guitar for the ages. One of our favorite builders of late, Leo Buendia, has come together with us on a custom project for one of our longtime clients that’ll stand apart from the already distinct group of custom Buendias we’ve commissioned over the past few years. This time, a one-piece back from The Tree Mahogany. Yes, you read that right. And it’s paired with a master grade Adirondack Spruce top, itself appointed with a chip carved rosette with Cedar insert and red Washi paper backing. To say this is a one-of-a-kind guitar feels like a gross understatement. Keep up with our build thread, and watch as Leo brings this beauty to life!

Model: OM
Fretboard: 14th-fret ebony fingerboard
Bridge: hand-carved Ebony
Bridge pins: Ebony with Pearl dots
Top braces: Sitka spruce
Binding: Ebony with black/white purfling
Saddle, 2 1/4” width, compensated Bone
Nut: 1 3/4” width, scalloped and compensated Bone
Truss-rod: lightweight, double action, including wrench
Head-cap Veneer: Highly-figured “The Tree” Quilted Mahogany
Back of Head-cap veneer: Ebony
Tuning Machines: Schaller M6 in gold with Ebony buttons
Fingerboard: Ebony, with Ebony binding and Maple purfling
Fingerboard Radius: 20′′
Case: Hoffee custom hardshell case
Scale Length: 25”
Soundboard: Master-grade Adirondack Spruce
Back and sides: Highly-figured ‘The Tree’ Quilted Mahogany
Cutaway: Florentine
Rosette: Hand-carved design with Cedar insert and red Washi paper
End graft: Custom hand-carved design to match rosette
Back Braces: Lattice Honduran Mahogany
Fingerboard Custom Inlay: 3rd to 19th in Spalted Maple
Back of the neck: Rectangular purfling Spalted Maple custom inlay
Body Wedge: Manzer-style tapered body
Headstock design: Wide shape with custom, hand-carved design to match rosette
Finish: French Polish body, Nitrocellulose Lacquer neck

3/29/19 Update:

7/3/19 Update: At long last, finished. We’ve had a few days to play this incredible instrument from Leo, record it and photograph it, and now it’s time to send it on to its new home. Here’s a link to the full listing! https://www.dreamguitars.com/shop/2019-buendia-om-cutaway-the-tree-mahogany-adirondack-spruce-053.html

We have a long list of clients looking for certain instruments on our Dream Catcher Watchlist. If you have one of the instruments below we may be able to facilitate a quick sale for you. Call us today or contact us online.

Have another high-end instrument for sale that is not listed below? Let us know! Call us today or contact us online.

  • Kris Kristofferson Signature Gibson SJ guitar (Signed)
  • Gibson J-35 30s/40s
  • Gibson Southern Jumbo 40s/50s
  • 1965 Martin D-18 As Original As Possible
  • 1936-44 Martin D28: Must have scalloped braces and diamond inlays; Original top and pickguard, not a total refinish.
  • Martin D-28 GE
  • James Olson
  • T.J. Thompson
  • Kim Walker
  • Wagner
  • Dammann

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.

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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.

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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.

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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.

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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.

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 “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!

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.

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.

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.

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.

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.

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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:

Dream Guitar Front

Dream Guitar Front-Side

Dream Guitar Back

Dream Guitar Rosette

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:

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Update 7/27/16:

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

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.

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2003 Walker Guitars SJ in Brazilian / Adirondack

Dominelli

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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.

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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.

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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.

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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

 

 

 

 

 

 

As mentioned in a previous post, Leonardo Buendia, one of Ervin Somogyi’s current apprentices and an amazing up and coming builder, is wrapping up his 3 year apprenticeship with Ervin and is moving to his own shop in Oakland, California.

We caught up with Leo and asked him a few questions regarding his new shop.

1) Where will the shop be located? Why did you pick there?

Leo: My new workshop is located in East Oakland.  I was offered the space by Lewis Santer, whom I’ve known for 3 years and who for a long time shared this same space with Michi Matsuda.  Lewis has been in this shop for 10 years and it’s well-equipped and already set up in a very smart way.  It’s a pleasure to be able to work with Lewis, who was also Ervin Somogyi’s shop manager for many years.  The transition is going smoothly – I’m getting back into my rhythm quickly.

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2) How are you configuring your shop? Why will it be configured this way?

Leo: Since everything was already set up for the construction and repair of guitars, I’ve only had to put together two benches–one in the dry room and one in the common space.  In the dry room I’m going to keep all of the wood I will be using for the guitars commissioned for these next few years.  The dry room is also where I will be doing all of the gluing.  I will be using the bench in the common space for shaping, scraping, sanding, etc.

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3) Any sources of inspiration that you can point to in your new shop?

Leo:
Ervin Somogyi’s shop, of course, is a big inspiration for how I would like my shop to look. I love the use of different workstations and I’m emulating that.  It allows my work to be very efficient.  I also took away from my experience at Ervin’s that it’s extremely helpful to have plenty of backstock of blocks, braces, fingerboards, pre-bent sides, pre-bent binding, etc.

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4) Any neat facts about your building process in your new shop that you’d like to share?

Leo: In the near future I will be working on designing a different kind of headstock.  So far I’ve been molding the heads in the style of a classical/Spanish guitar.  In Argentina we play Spanish guitars, so I’ve always liked the headstocks I learned to make with Ervin, which are reminiscent of these. Now that I will have more time for experimentation and designing, I am going to make headstocks with a more modern style, while still avoiding the symmetrical and conventional.  This new design is more like that of my fanned fret guitar.  Another change that’s coming is that in about 6 months I will begin with a new model, the OO.  The big sound that it makes is very surprising given its small body. In fact, it’s the guitar I plan to make for myself.

Click here to learn more about an Incoming Leonardo Buendia OM Build

Click here to watch Paul interview Leo Buendia at this year’s Memphis Acoustic Guitar Festival.

Dream Guitars at the 2015 Memphis Acoustic Guitar Festival

View All Interviews and Performances from the Show

The 2015 Memphis Acoustic Guitar Festival was great fun. I always look forward to the custom guitar shows as it affords me a chance to catch up with the many luthiers I am honored to call friends and see what wonderful creations they are developing as time goes on. This year I traveled to the show with Scott Bresnick, who works with me here at Dream Guitars. What follows is an understanding of what goes on at the shows, the story of a few guitars that truly impressed us, and some insight into the people who build these great guitars.

A custom guitar show is special in that you have the opportunity to play two, three or perhaps four guitars from each of the builders in attendance. Many of these guitars are custom-made for sale at this event. Others are already sold but they afford you a chance to hear multiple models and wood combinations at one time. That is what makes this type of show so special. Aside from visiting a shop like ours, it’s very hard to find all of these makers in one place. The 2015 Memphis Acoustic Guitar Festival consisted of one large hall that housed all of the luthiers and their instruments. Just outside this hall were other rooms for demoing guitars and additional smaller rooms with concert stages for demo concerts, workshops and listening concerts. There were also a handful of vendors, tone wood suppliers and manufacturers of guitar related accessories.

We arrived just in time on the first day to catch our own Al Petteway in concert. He played a rousing set of new material featuring many of the songs on the “Dream Guitars Vol. II: Hand-Picked” CD. This is a wonderful new album that features Al playing his and my favorite guitars that we pulled right off the walls at Dream Guitars. We also have a tab book for the entire CD and are producing video lessons for every song as well.

We have been working with many of the luthiers that attended the show for years. They’re always coming up with new designs, bracing changes and appointments, so it is always exciting to see their latest work. You can see a full list of the builders that attended the festival here. One such Builder is Thomas Rein, who recently revamped his bracing to incorporate a U-shaped brace on the lower bout. This guitar was my very favorite at the show. The tone was so round and lush while articulate and soul shaking. You can see this Thomas Rein guitar on our website complete with a video by Al here. We also interviewed Tom about his process and discovery of his new tone.

It’s no surprise that most of our other favorites at the show were the builders we already work with such as Bill Tippin, Bruce Petros, Brian Applegate and many others. I’ve been discovering and selecting builders at shows like this for many years. We are always on the lookout for a builder that is new to us and one that we believe our clients will find inspirational. This year I met Brad Daniels of Oxwood Guitars, Isaac Jang, Joel Michaud and several other rising builders that truly impressed us. We have invited each of these builders to make guitars for DG, so keep an eye (and ear) out for more on these folks.

There are also other builders that we meet at these types of shows and decide are not for Dream Guitars. We try to stay very true to what our clients expect, which is the best of the best. So for some luthiers at these shows, we provide constructive and honest feedback in hopes they can improve in time. An unseen part of what we do at Dream Guitars is to advise newer luthiers and tell them what areas of construction and tone they need to keep working on. We stay in touch and if they reach the level of expertise we require, we then begin to represent them. We truly enjoy supporting builders of every level and helping the overall craft.

Many of the attendees at the show are longtime clients and friends of the shop. We would stop in the hall and compare notes about what builders we’re enjoying at the show and the overall experience. One of my longtime clients commented that he loves coming to our shop because it is truly quiet, as we give each client a private appointment time. While the shows have quiet rooms, they are not that quiet. Often you are playing with two or three others in one open room and hotel conference rooms do not sound very good.

Scott and I brought along a video camera and throughout the weekend interviewed a number of the builders at the show. Our intention was to ask them questions to provide you with some insight into who these men and women are, and of course there is some guitar design discussion as well. We are after all guitar nuts, just like all of you. All of these videos can be found below and are also be available on our YouTube channel and featured on our website. We hope you find these entertaining and informative:

https://youtu.be/Vb6FTR_Sv7Q

“The guitar itself has always been my best teacher.  She has always revealed herself to me bit by bit, taking her own sweet time.  I’ve been the student.” – Ervin Somogyi

We are extremely fortunate to have three Somogyi Guitars in-stock at the moment so we decided to record all three for another special video which we have named, “Three Decades of the Somogyi Sound!”

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Click here or on the video image above to watch “Three Decades of the Somogyi Sound!”

“Ervin Somogyi has long been one of my favorite builders. He was one of the original luthiers 80-somogyi-mod-dto create the open modern voicing that we now all think of when we hear fingerstyle guitar recordings. In the 1970s and 80s when artist like Alex De Grassi first started to record fingerstyle guitar, they went to Ervin Somogyi and asked him for guitars with more open voicing that would be more appropriate to make recordings with. The factory guitars of the day were simply not expressive enough for solo guitar pieces. To this day Ervin is considered one of the masters of guitar voicing and he has taught his ideas and techniques to many of today’s top luthiers the world over.” – Paul Heumiller

Here at Dream Guitars we have been a dealer for Ervin Somogyi for many years and he is constantly a favorite for our clientele. It is a sheer delight to have three of his guitars in the shop right now, each from another decade.

We simply could not resist recording them side-by-side to share with the world. Somogyi’s voice is one that all lovers of guitar should know and understand. It has so influenced modern guitar perhaps more so than any other single builder.

We asked Ervin Somogyi himself for a few thoughts on how his building has evolved over the last few decades and here’s what he had to say:

“Lately, some guitars of mine from the eighties and nineties have come on the market, and some of them have come to my shop for visits, checkups, or for a tweak or repair . . . or because the original owner was no longer playing guitar and wanted to see if I knew anyone who would want to buy their baby.  And so on.

I have been pleasantly surprised in every instance by how well they’ve held up.  Yes, they’ve had signs of wear and tear — if not in small scratches and such, then most notably in the look of the lacquered finish.  Lacquer has the capacity to separate from its underlayment, over time; and these guitars show small spots of lacquer separation/bubbling from the wood underneath.  This is not in the least bit serious; it’s cosmetic and easily fixable; a guitar simply looks not-brand-new in this regard.

Happily, not one of the guitars that I’ve seen or heard about, from this period, has been mistreated: they seem to be structurally sound.  And I’ve been pleasantly reminded of how far back I was using certain elements of decoration, or arrangements of bracing, that now seem to me like the most intelligent way to carry out this work.” – Ervin Somogyi

 

Click here to view our in-stock Ervin Somogyi guitars.

UPDATE: Paul’s personal baritone guitar built by Ken Jones and Mountain Song Guitars has been completed and added to the Dream Guitars website!! Sorry folks, this particular one is not for sale but you can order your own Mountain Song baritone through Dream Guitars! Click here for more info on Paul’s baritone and Mountain Song or click on one of the images below to watch Al and Paul jamming away on this beauty!

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COMPLETED MOUNTAIN SONG BARITONE

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ORIGINAL BLOG DURING THE BUILD

Ken Jones is up to it again – this time this guitar is going right to our own Paul Heumiller. Ken is building Paul a very special IMG_5447-2Baritone featuring Padauk, Carolina Red Spruce and fanned-fret neck. The scale lengths range from 28.5″ on the bass side to 27.25″ on the treble. The body is slightly smaller than Jumbo proportions with a 16.5″ lower bout and 20.5″ body length, and a 4.75″ body depth at the tail, tapering to 4″ at the heel. Ken also offers the same body shape in a full-Jumbo size of 17″ LB and 21″ body length, with a 5″ body depth at the tail and 4.25″ depth at the heel. Top bracing is also Carolina Red Spruce.

“I knew for certain that I wanted the body to be Padauk Wood. The finest baritones I have ever played were made from Padauk. It has an amazing clarity that really helps the bass notes maintain separation when they’re tuned down to A or B. In recent years I have been primarily playing Fanned Fretted instruments and knew that I wanted that element as well. I play in many alternate tunings and it is key for me to have the bass strings longer than the treble strings. It insures that my bass notes will be strong and never floppy, while at the same time the trebles maintain a pleasant tension and sweet tone. Ken had a chance to get some wonderful local Carolina spruce tops from legendary luthier John Arnold so he suggested we use that for the top as it is wonderfully stiff and has incredible tap tone,” says Paul Heumiller.

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Other details include ebony headplate, fingerboard, and bindings, armrest bevel and ribrest bevel and a one-piece, carbon fiber reinforced Honduran Mahogany neck with double-acting truss rod.

Paul first played a Baritone guitar at Martin Simpson’s home in England many years ago. That very first moment he felt a wave of inspiration that has led him to continue to play in alternate tunings and on Baritones ever since. Paul states, “The most wonderful thing about the Baritone guitar is that you play exactly the same piece that you would in standard pitch but everything changes. The low register, rumbling bass and sweet, lucid trebles alter the mood and inspire the soul.”

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“I started to play the guitar for the sole purpose of writing songs. While I can do a lot of things on guitar, I consider myself primarily a  singer-songwriter. So whether an instrumental piece or accompaniment, my Baritone guitar offers me a voice that takes me into another world, another head space and invites me to write something I would likely never find at standard pitch,” says Paul Heumiller.

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Paul continues, “When I decided to invite Ken Jones of Mountain Song guitars to build me a Baritone instrument we had long conversations about the many Baritones that I have been able to play in the shop over the years. I am in the very fortunate position of getting to play the finest guitars ever made every day of my life. I have played many Baritones by Lance McCollum, Bill Tippin, David Berkowitz, Steve Klein, Ralph Bown and so many other of the finest makers in the world. So having the chance to collaborate with Ken was like dropping a three-year-old in the middle of a candy store with a credit card!!”

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“It’s been really enjoyable and informative collaborating with Paul on the various design elements, from the scale-length spread, to tonewoods, to the neck shape/profile. That was particularly interesting, since we were able to look closely at some of Paul’s favorite neck shapes, and come up with a hybrid that perfectly suits his needs. It’s essentially a D-shape with a slight V carved into the bass-side. We decided to keep the adornment to a minimum, with side dots only, and just a small inlay on the fingerboard at the twelfth fret. Being a large-bodied guitar, we agreed that an arm bevel was in order, as well as a super-comfortable ribrest bevel,” says Ken Jones.

IMG_5386-2“Paul has played more of the world’s finest guitars than just about anyone out there, and it’s been a pleasure and honor to learn from his insights what makes a truly great guitar,” Ken continues.

Great news! There are two more Baritones underway from Ken and Mountain Song Guitars – one in Quilted Maple and another in Cuban Mahogany. Ken is shooting to have these completed by the end of this year. These two will have similar features however it is still early enough for customizations.

Call today 828-658-9795 to reserve and customize your own Mountain Song Baritone Guitar!!

songbird-rosewood2-cut-spaceA few years ago, we began the search for great sounding but reasonably priced guitars to offer our many clients who were asking for such an animal.

As luck would have it at that same point in time, our luthiers Michael Baskin and Harry Fleishman were in the midst of designing guitars that would be built overseas as a new company called Avian. Today, these guitars are hand-made in a small factory only building Avian guitars. This is not a situation where a huge factory is pumping out 20 different brands. That is why the quality is so great and the tone so wonderful.

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Click Above to Learn More about Avian Guitars from Paul

songbird-maple4-spaceMichael and Harry have personally trained this small, talented staff and the results are evident. We have sold many of these guitars to people here in the shop where quite frankly they sell themselves with just a few moments of play. But for those of you out in the Internet land, we want to offer you a risk-free way to try one for yourself.

Hence, we are proud to announce the Avian adventure!

For a limited time, try an Avian guitar for three days in your home. avian-skylark-rosewood1-spaceWe are so confident that you will agree with us that these guitars rival others that cost more than $5000, we’re willing to put our money where our mouth is. Call us today and we will ship you an Avian guitar at no charge. All we ask is that if you return it, you pay just the return shipping which is only $75. We will pick up the rest.

But that’s not all – We will also include a Dream Guitars Volume One CD and Tablature so you’ll have plenty of music to play on your new Avian guitar.

Select from any of our in-stock Avian guitar models including:

Ready for the Avian adventure? Call us today to take advantage of the above promotion.

Offer valid through 10/15/14 or while current inventory lasts

Gel nails look very natural, they are clear and just a bit shinier than your normal nail. I typically get nice comments on them when folks notice them and it’s a great conversation starter.

Last night I was sitting in the salon getting my nails done when I realized I should do an article as so many players ask about my nails at the shop. There are many ways to go and it’s a personal decision for each player. But here’s what I do and how I got there.

When I initially started playing Fingerstyle I used my own natural nails. The nails were weak, though especially at the end where they often broke, a serious impediment to progress so I switched to metal finger pics – the kind that many Blues players use. I used these for several years. They were extremely uncomfortable and I never liked the metallic attack on the strings.

Then one day I found myself in New York City attending a workshop with Martin Simpson who was one of the instructors. The first song I heard them play was Rosie Anderson and the tone Martin produced was just amazing. Single notes were fat and clear and the overall tone was just beautiful sounding. After the performance we had a chance to meet and chat and he showed me his acrylic nails. Martin told me he goes to the salon every few weeks. I walked out of the door at Columbia University down the street to the first salon I could find and gave them my right hand!! It was pretty comical actually because they thought I wanted both hands done – I mean it was New York City after all. They didn’t speak much English but as soon as I made the motion of playing air guitar they understood.

This was probably 16 or 17 years ago and back then the acrylic nails were a powder and a resin that were mixed together and applied to the nail. Not a great product as it would dry out the original nail and was prone to chipping more often than it should. However over the past few years, a new acrylic nail gel product came out that is not only healthier for your real nail but much more durable and in fact a bit more flexible and better sounding.

The process is pretty simple, as the name implies – the product, which is a gel, goes on thick and gooey and levels itself. If it is your first time and if you want your nails to be longer  they will first apply some fake nail tips to form a bridge for the new gel nail to go over. You then place your hand under a UV light which hardens and cures the gel in short order (warning this can get hot and burning, pull them out for a few seconds to cool and then reinsert them). There’s a few iterations of sanding your nails and adding coats of gel and drying under the UV. This takes about 30 or 40 minutes, then you are ready to go home and play. Well almost. One of the great benefits of this product is shaping. The standard nail file goes from course to fine so you can experiment with beveling your nail and polishing it to different ranges of smooth for the particular tone that you want for your music. Think about the bevel on your favorite pick and try for that for starters.

The long-term care of these nails is pretty straightforward as well – about every 2 to 4 weeks depending on your own situation, you can go back to the salon for what is called a fill. This is where they simply fill in the portion of your nail that has grown out and add any more gel towards the base of your fingernail, fixing any minor nicks or things that need to be touched up.

Nail salon price varies around the country but anywhere from $20-$30 will get you a set of these nails, and fills usually range from $15-$20. Well worth it – I used to lose my pics all the time and now I simply can’t leave home without them.

PS -Be sure and get a pedicure while you’re at the salon, it’s not just for the ladies and it’s fabulous!

Dream Guitars is proud to bring you some exciting news from Tippin Guitars including a brand new model and incoming DG inventory!!

Bill Tippin’s New Forte Model

First off, Bill Tippin introduced his newest creation, the Tippin Forte, at the recent Healdsburg Guitar Festival in California. This is a new model from him and is one of his most creative projects to date.

The Forte, based on his Crescendo model, was inspired by Tippin’s own personal guitar preferences. He found a way to boost the richness of the Crescendo — he increased the width of lower bout while maintaining the balance — and it’s slightly wider (3/16th”) at its widest.

Our own Paul Heumiller and Al Petteway had the privilege of playing the new Forte while out in Healdsburg. “The new Forte model from Bill Tippin has everything I love about the Crescendo, balance, clarity, power and Bill’s trademark full trebles, but it adds a bit more fullness to the bass for the player that enjoys a bit more thump in the chest. Outstanding!” – Paul H.

The Original Tippin Crescendo Model

The Crescendo, which is considered to be the cornerstone of Tippin’s entire line of guitars, is large yet versatile. Imagine a 14-fret OMT with the rich tone normally found in an 00012-fret size. The Crescendo manages to combine the feel of a 14-fret OMT while preserving the rich tone of a 12-fret body model, replete with incredible tone, balance and projection.

Dream Guitars has a pre-owned 2005 Crescendo in stock featuring Brazilian Rosewood and Carpathian Spruce – contact us if you’re interested in acquiring!

And, by the way, our own Paul Heumiller is anxiously awaiting to take delivery of his personal, custom Crescendo. Paul’s model is made from Brazilian/Moon spruce with a cutaway, MOP sparkle trim. What makes this custom job so unique is that it includes a short-scale, Fan Fret design, which will perform well in Drop-D, DADGAD and standard tunings.

The Tippin Al Petteway Signature Model

Also, Bill has embarked on a new build of the Tippin Al Petteway Signature, also based on the Crescendo model. Check out this video demonstration of the Petteway Signature on our YouTube channel. This instrument is representative of Bill at the top of his game, and when you listen to our studio recording you’ll understand what we mean. Interested in purchasing the incoming Tippin Al Petteway Signature model? Contact us today to learn more about your reservation options.

We do also have a pre-owned Al Petteway Signature in stock as well if you would rather not wait for the incoming guitar. This 2008 Crescendo Al Petteway Signature was actually originally purchased by Al Petteway himself and was the first Signature model ever made! This beauty features brick red Brazilian Rosewood, Moon Harvested European Spruce, an armrest bevel, beveled cutaway, and new heel design. Click here to learn more.

This is exciting stuff, folks. We all know that Grit Laskin is one of the finest luthiers around and is widely considered as a master of inlay work. Today, Dream Guitars announces that he is working on a custom guitar that we have made available for reservation with delivery expected in December.

Our own Paul Heumiller worked with Grit to develop the basic inlay ideas and Laskin took off running. As you can see in these pictures, the design is amazing, intricate and just short of groundbreaking.

Here is some of what Grit himself had to say about this piece:

One of the most beloved and influential guitarists was the legend who passed away just last year, Doc Watson. I began thinking about Doc, and about the natural world and the title from Shakespeare popped into my head: ‘A Midsummer Night’s Dream,’ which takes place in a forest. The more I read about Doc, the more his life inspired me: His musical beginnings, the events in his life that shaped him and the fact that what gave him the musical bug was the shape-note hymns sung by his mother. My brain locked onto that seminal influence and also latched onto the literal meaning of the word shape — this old-style singing shaped his life, yes, but the notes themselves also provided physical shapes in which I could place scenes and elements from his life. Bingo.

“I’m putting a large portrait of Doc picking a guitar on the headstock in the same realistic I used for John Lennon on the ‘Imagine’ guitar. Flowing down the fret board are the seven basic shapes of shape notes (do, re, mi, fa, so, la, ti) large enough to place within elements such as Doc’s earliest musical instruments, his early solo album, ‘Southbound,’ which  first brought him to prominence. In fact, the working title of the piece is ‘Southbound.’

Talk about creative thinking.

If you’re jazzed about this guitar and Laskin’s work no one would blame you if you missed our announcement, so here it is again: This guitar is available and you can reserve it now by contacting the Dream Guitars shop near Asheville, NC, right away. If you miss this opportunity, or want to see more of Grit Laskin’s work, check out the gallery on his homepage.

A while back, guitar great Al Petteway sat in front of the camera at our showroom in Weaverville, North Carolina, just outside of Asheville, and gave us all a lesson on how to play his own composition, “Tennessee Mountain Rag,” which is included on the “Dream Guitars, Volume 1, The Golden Age of Luthiers” CD and tablature book.

For the lesson, Al plays a Tippin Al Petteway Signature Model with Brazilian Rosewood and Moon Spruce, built by one of the great luthiers in the United States, Bill Tippin of Tippin Guitars.

“In this style of music, everything is out there to be had,” Al explains when discussing his writing method for this song, which taps into many other tunes and progressions in the genre, and the way he puts it all together to make it his own. This is songwriting, folks.

Al also details his chords as well as a cool “chicken picking” technique that he uses for a neat walk-down. He also details optional rhythm choices, which he points out are reminiscent of the style of Chet Atkins. He also shows you a neat lick he learned from listening to Atkins.

You can watch the video here on our Dream Guitars YouTube channel. The “Dream Guitars, Vol. 1” CD and complete book of tablature is available in our online store. All of this and more is available in the online shopping cart.

You should also visit his website at www.alandamy.com to learn more about Al Petteway, his wife, Amy.

The pleasure of owning your very own Dream guitar — Tippin, Traugott, Martin, Laskin, McConnell or any other instrument from our collection or from one of your lucky finds — can only be ensured with proper care and maintenance… and that starts with the right case. Get into one today!

Dream Guitars has a solid collection of outstanding guitar cases from trusted brands including Main Stage, Hoffee and others.

How about a little primer on exactly which guitar cases we have to offer, shall we?

First off are the magical Main Stage cases, which are comparable to Calton Cases, another popular brand. In fact, Main Stage was founded by two former employees of Calton and these guys remain true to the quality and care that helped make Calton a big name. Now they’re doing it on their own and the Main Stage brand has earned an excellent reputation for superbly made, professional grade hard-shell fiberglass touring cases for stringed instruments. Each case is handmade for your exact instrument, featuring custom fit, color and finish.

We order all of our Main Stage cases with Thinsulate thermal padding and granite finish. Custom Order prices may vary.

Another of our most popular cases is from Hoffee…. you won’t be disappointed.

“We are very proud to offer Hoffee Carbon Fiber cases,” our own Paul Heumiller is proud to tell you. “They are light, super strong and worthy of holding your Dream Guitar.”

Hoffee cases are priced right and the strong, lightweight, carbon fiber cases are custom Made in the USA. Hoffee is proud of its state-of-the-art mission, from the materials to the process itself.  The carbon fiber shells are stronger and lighter than other wooden, ABS (plastic) or fiberglass cases.

Dream Guitars offers custom sizing and an array of colors, allowing 4-6 weeks for delivery. Check out our store — where we also have cases from Cedar Creek, Colorado and Ameritage for sale — and contact us for details. If you’re in the area, stop by the shop in Weaverville, NC, just outside of Asheville, and explore.

As you may have noticed, bottleneck slide guitar great Steve James spent quite a bit of time at Dream Guitars in our Weaverville, NC, studios back in May, when he came in for a house concert here.

He took time out of his schedule to demo several National Resophonic guitars and perform the classic song, “Guitar Rag,” widely regarded as the first slide guitar song ever recorded (1923).

He also sat down in front of the camera to talk about his life in music; click here to check it out on our YouTube channel. Steve recalls his first records (a collection of Lead Belly 78 RPMs he got the age of 4), his first guitar (a 1963 Gibson J-50) and his early days in New York City studying under such greats as Freddie Lewis and Stan McGee. He also points out the importance of the lessons he learned listening to the unique techniques of Blind Willie Johnson and the alternate tunings of Muddy Waters and Bukka White, some of the unsung heroes of the bottleneck slide blues.

He wraps things up talking about American blues music, calling it “our great export… this is what we offer to the world. People love our music and love to listen to it.”

This video is brought to you by Dream Guitars, proud to be a National Resophonic dealer… and a good friend of Steve James! Contact us today to get your very own National steel! Visit www.stevejames.com for more about Steve!

In many ways, Dream Guitars is not just about buying and selling amazing stringed instruments. Sometimes, we help make music. In fact, we feel that the Tony McManus album, “The Maker’s Mark: The Dream Guitars Sessions,” may have been our finest moment.

Here’s how it all went down…

A few years ago, Dream Guitars’ top dog Paul Heumiller was at the Swannanoa Gathering, which included a week of playing, meeting other musicians and generally having a blast with amazing music in the background. There, Paul met the Celtic steel-string legend and the two hit it off in a big way. As the week drew to a close, Paul made Tony an offer he couldn’t refuse.

“Next time you make an album,” Paul said, “let me know and I’ll bring a bunch of [Dream] guitars.”

Tony called a few months later, and Paul quickly found himself loading up the car with 19 guitars before driving out from Weaverville, NC, to Nashville, Tenn., and the famed Compass Records recording studio, where all of the Outlaws music was recorded, a studio that had welcomed Waylon Jennings, Willie Nelson and Hank Williams.

“What a great vibe,” Paul explained.

For a week, Paul prepped guitars and Tony made music with several guitars, including a Greenfield, a Wingert, and a Matsuda, among others, which he selected not only because of the sound but that Tony believed that each luthier’s guitar was the right instrument for a specific song and its character.

The result of this magical week was Tony’s album, “The Maker’s Mark: The Dream Guitars Sessions.” You can find the album in our Dream Guitars shop by clicking here. “Maker’s Mark” is also available on Amazon. Paul feels strongly that this is “one of the finest solo guitar records ever” because of Tony’s expert selection process.

Each unique musical piece brings tonal variety. For the final track, “Valse de Belugas,” or “Waltz of the Belugas,” Tony used all 19 guitars and added a beautiful, 12-string Veillette Gryphon.

For the record, Acoustic Guitar Magazine has said this about Tony and his music: “Few guitarists can present Celtic music with the gusto and nuance they possess when played on fiddles or bagpipes. Tony McManus is one of those few.”

The album won the Canadian Folk Music Award in the solo instrumental category that year, and we at Dream Guitars remain as proud now as we were then.

Tony has also just released his latest recording entitled “Mysterious Boundaries.” You can check it out by visiting Tony’s website.

This is great stuff.

Dream Guitars is a proud dealer of Composite Acoustics guitars, seen by many as superb travel guitars that require little maintenance or worry. They have been described as “virtually indestructible” because of the carbon fiber construction. They can handle heat, cold, life in the closet and will emerge ready to play.

Even more, the sound great, especially in low tunings, like DADGAD or low C, since the action won’t change when the string tension is altered.

We have several coming into the shop now — the GX (an auditorium-sized cutaway), the OX (a 20-fret cutaway with a raw finish) and Cargo (a travel model with or without electronics) — and we are a dealer of the entire Composite Acoustics catalog. If all this isn’t good enough, you’ll get a free $50 Dream Guitars Gift Card when you purchase a Composite Acoustics guitar at our shop here.

Curious yet? We took a ride on one of their classic Vintage Performer D models a few years back and everyone at the shop was blown away. Check out our YouTube link to take a listen before you call us to pick up one of these beauties.

Again, here are the takeaways:

  • Carbon Fiber composition
  • “Virtually indestructible”
  • Awesome in low tunings
  • Great sound
  • Hassle-free
  • Get a $50 Dream Guitars gift card

Take one to the beach or the mountains. Leave it in the trunk or the closet for months, it’ll be fine and sound great. Drop the tuning and have at it.

Our own Paul Heumiller recently sat down in front of the cameras to talk about one of Dream Guitars’ favorite builders, Jordan McConnell of McConnell Guitars (and the Grammy-award winning band, The Duhks) for a video interview.  You see, Paul is not only has a savvy eye when it comes to great luthiers and their instruments, but also sees things from the mindset of a player. In fact, he’s a proud owner of a McConnell and shares his feelings about that fine, custom made instrument with the viewer. Paul makes clear the guitar’s ability to bring out the music and sound he feels inside, a rare trait for any custom instrument.

McConnell builds rich-sounding and versatile instruments in both steel string and classical models at his shop in Winnipeg, Canada, on the fringes of the Canadian Prairies. McConnell became enamored with the construction of guitars at a young age and has studied with famed Spanish luthier, Jose Romanillos, gaining a valuable education in the work, the craftsmanship.

Among his customers: Tim Sparks, an award-winning fingerpicking player, jazz greats Larry Roy and Harley Card, Seth Avett of the Avett Brothers and Irish player John Doyle.

So, Paul sat down in our Weaverville, NC, studio, to talk about this fine luthier, who works with his father on the construction of the guitars. As a builder, Jordan McConnell has become a hot name and his work is in demand. While we do not have currently any in stock, Dream Guitars is accepting orders for his custom builds. Paul will personally work with you to ensure you get what your music deserves. Contact us to discuss the possibilities.

Considering a McConnell now? You may also want to check out this video of Jordan McConnell at the Dream Guitars headquarters a few years ago, offering an exclusive performance. We also have several other video samples of various McConnell guitars on our YouTube channel as well as the Listening Studio on our home page.

Special thanks to Dan Crapsi and Ginny Temple, who visited our shop and filmed this interview for their blog, thegoodguitar.com.

Tag Archive for: Dream Guitars

Paul: I travel the world to go to the best high-end custom guitar shows looking for the finest instruments, and more importantly, for relationships with makers that can become part of the Dream Guitars family. For years now I’ve been seeing Otto D’Ambrosio at the shows and I’ve been completely enamored with his sophisticated, elegant and downright beautiful guitars. It should come as no surprise since he’s a lead designer with Eastman Guitar company. But at home, on his personal bench, he’s making one of a kind works of art. And we are delighted to be representing his work directly to our clients of Dream Guitars around the world. D’Ambrosio only builds a few instruments a year and we will be his exclusive dealer for them. We couldn’t be more delighted.

Logan: I’m quite excited to be working with Otto–his work is fresh, inventive, and frankly gorgeous. With his sterling pedigree from working with Flip Scipio and John Monteleone, it’s no wonder.

https://www.dreamguitars.com/shop/2017-d-ambrosio-angel-city-italian-maple-european-alpine-spruce-2213.html

Chapters:
0:00 D’Ambrosio Angel City Demo with Duane Simpson
1:15 Guitar Details with Logan Wells
3:34 Unplugged Outro with Duane Simpson

@DreamGuitars