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Acoustic Soundboard

This case, from TKL, is an example of the classic approach to guitar protection.

Be sure to guard your 6-string investments from damage. Here’s a guide to a variety of options for dependable guitar protection.

I have had many guitars pass through my hands, and I’m happy to say that I have only been involved with the demise of one. This happened when the shelving above my workbench collapsed. Needless to say, I no longer have any shelves above my workbenches. However, even without structurally compromised shelves, guitars are fragile things. If they are not taken care of properly, they can, and will, be damaged. The key is to make sure your precious instrument is not put in harm’s way, so making good choices when storing or transporting your guitar is paramount.

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Linda Manzer (right) and Maegen Wells play one of the guitars assembled in the “Nickel Wound Chef” competition at Fretboard Summit 2022.

After several years away, luthiers and enthusiasts gathered across the country in 2022. Here’s how it went down.

After two years of being locked up in our shops, guitar makers everywhere were eager to be reunited in 2022, when many beloved industry events returned. These guitar shows allow qualifying luthiers to showcase their work and connect with players and buyers. More importantly, they’re a wonderful opportunity for the guitar-building community to come together, and I couldn’t wait to see what my friends had been gluing up.

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Testing materials is the foundation of any scientifically based build. Here, an FFT analyzer is used to track sonic response.

Data-based building is nothing new in the acoustic-guitar world, but its impact continues to grow.

When I first took my stab at lutherie, I mostly did maintenance work. Fret work, bone nuts and saddles, and basic setups made up the bulk of my daily agenda. I was exposed to many great guitars, both acoustic and electric. And even though I played electrics out on the gig, my primary interest was always acoustic guitars. I was just obsessed with figuring out what made them tick. Once I moved into instrument making, I found it difficult to produce the concert-level quality instruments I had become so accustomed to in my repair days. I was inspired to take a more analytic approach to instrument making, which was ultimately an attempt to tighten-up the consistency, tone, and overall playing experience for my customers.

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When a guitar collector dies, a collection gets passed on and begins a new life. Here’s one collection’s story.

I’ve been in the guitar business in the same city for many decades. One of the advantages of that is I get to see a lot of great instruments we sold years ago come back again. One of the disadvantages is that many times those instruments are returning because an old customer has died or become too frail to play them. All of us who deal in used and vintage guitars love to see great gear, especially when it’s been well cared for. But when I not only recognize the guitars but also remember the owner, the opportunity to sell their instruments a second time is bittersweet.

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Luthier Maegen Wells recalls the moment she fell in love with the archtop and how it changed her world.

The archtop guitar is one of the greatest loves of my life, and over time it’s become clear that our tale is perhaps an unlikely one. I showed up late to the archtop party, and it took a while to realize our pairing was atypical. I had no idea that I had fallen head-over-heels in love with everything about what’s commonly perceived as a “jazz guitar.” No clue whatsoever. And, to be honest, I kind of miss those days. But one can only hear the question, “Why do you want to build jazz guitars if you don’t play jazz?” so many times before starting to wonder what the hell everyone’s talking about.

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