This case, from TKL, is an example of the classic approach to guitar protection.
Storing guitars on stands creates a major risk for damage. Even though we all use them, I don’t use my stands for storage. When they’re not being played, I put guitars back in their cases. As a repair person, I routinely talk to my customers about the importance of storing guitars in their cases, which protect them from impact and are your primary line of defense against humidity fluctuations. Even though countless priceless vintage guitars have changed hands, many still reside safely in their OEM hardshell cases. That’s a testament to a good, old-school hardshell case.
It's my opinion that a 5-ply hardshell guitar case with an arch top and back (which has been routinely produced by many case manufacturers for decades) is a perfectly acceptable option for guitars of any value. If treated with respect and care, it will hold up to the life of an instrument, offering decades of protection. For my line of Galloup Guitars, I use Cedar Creek cases produced by TKL as my baseline. I have used these cases to transport my guitars to conventions across the world for decades without issue, so that’s a pretty good track record.
If you’re a player who requires a more durable case for ultimate protection, there are some high-end options to consider, though they can run well over $1,000. A well-established brand is Calton Cases, produced in Austin, Texas. These cases are absolute vaults, so when the SHTF, your guitar has an excellent chance at survival—whether it’s thrown off of an equipment truck or mishandled by a baggage person—maybe even if a ship goes down at sea. However, Calton Cases are big, heavy, and therefore not particularly easy to transport. If you consider the overall size and weight, coupled with their added cost, these are generally not a prime option for everyday use. But for heavy-duty protection in volatile environments, yes.
Jeff Hoffee in Chicago, Illinois, also makes high-end acoustic guitar cases that are some of the more attractive I have seen, sporting a smart, stylish, and modern look. These carbon-fiber cases offer a nice amount of protection at a pleasing weight. With the added option of the accompanying shoulder strap, you have a good overall package. However, I have had Hoffee cases fracture during shipping. My guitars were never damaged, and Jeff has always been stellar about repairing them. In fact, he offers a lifetime warranty.
Quick side note: The case is an extension of the overall guitar package. If it is damaged, you have every right to claim through your insurance policy for any repair cost or replacements.
Then, there’s the topic of guitar-case accessories, of which there are two in particular I find notable. One is a shoulder strap. When I order cases, I make sure they are equipped with “D” hooks, ready to accept shoulder straps. If the company does not offer that feature, I’m not interested. For me, it’s a must.
There are also case covers, which are less essential but certainly have their advantages. They add a level of protection from the elements that, in some circumstances, just might be the edge you need to protect your guitar from certain peril. Plus, there’s the obvious protection to the case itself through external padding. The brand that seems to be making the rounds with many pro players is Caseadillo. These quality units are produced in several colors with added external storage for personal belongings.
Of course, I have only touched on a few cases available. If you go to NAMM, there are seemingly hundreds of case makers to choose from, but this overview should give you some guidelines to consider when choosing a case for protecting your investment. PG
Testing materials is the foundation of any scientifically based build. Here, an FFT analyzer is used to track sonic response.
The science of instrument making is an extraordinarily interesting world. My studies began with basic data collecting, such as material strength and weights, until I eventually developed a spreadsheet to better track my builds and improve the sound quality of my guitars. Eventually, this approach introduced me to a whole culture of scientists and engineers that were pursuing the same passion, and they were very open to the exchange of information. This solidified my commitment to the field of voicing science, and vastly improved the quality of my instruments.
What we are experiencing today is an explosion in the study of sound. This is a revolution that has been decades in the making.
Over time, these methods have picked up steam, with most of today’s hand-builders adopting some level of voicing science to improve the outcome of their instruments. In the end, all of this is an attempt to unlock the methods of the finest luthiers, such as the violin makers building in the European tradition, makers such as Lloyd Loar, or even the Martin Guitar Company’s contributions from the mid-to-late 1930s.
But what we are experiencing today is an explosion in the study of sound. This is a revolution that has been decades in the making. My first exposure was in the ’90s when I met a classical guitar maker by the name of Richard Schneider, who worked alongside a physical chemist named Michael Kasha, who was not a luthier himself. Together, they teamed up and made many advancements in the science of sound. Another major push was the book Left-Brain Lutherie written by David C. Hurd, Ph.D. This is a great think-book that put most modern luthiers on the path of analytical guitar making. In our shop, this book was on the bench constantly, as it helped us maneuver through many tough questions about instrument acoustics. Most recently, Australian luthier Trevor Gore published Contemporary Acoustic Guitar Design and Build, which has been a go-to for most modern luthiers. Trevor is a talented builder, and his contributions will inspire many others to come.
Precision building is crucial for the best, most harmonically rich tops.
But what does this mean to you, the player? This is the question. In the early ’90s, us builders noticed a major improvement in the quality of builds in the micro-building market. This was mostly due to groups such as the Guild of American Luthiers and the Healdsburg Guitar Festival. These groups offered a platform for guitar makers to compare notes, and this information exchange vastly improved the qualities of their builds. About five years after that, we all noticed everyone’s building style and finish went through a major transformation. This illustrates why the dawn of voicing science is so important—the exchange of science and information improves instrument quality for everyone. This is what is happening now. All the serious makers are currently implementing techniques set into motion by the research of the past 40 years and are sharing their findings with the world.
These days, I am noticing a major improvement in the tone and the stability of acoustic instruments. One builder who stands out in my mind is Colorado luthier Michael Bashkin, whose OM classical guitar is a major play for tonal excellence. So, for you the guitar buyer, this is a very good time to be shopping around the custom-guitar market. There is no doubt we are experiencing the next level in guitar making. And it will only get better.