Finding the right school can be tough for any aspiring luthier. Here are some options to consider.
In my previous column, “So, You Want to Be a Luthier?”, I talked about the types of people attracted to lutherie training programs, some of the possibilities and options these individuals have at their disposal, and discussed both long-term and short-term training, either of which have their place for primary or supplemental training. But the question remains, what school should you choose for your lutherie training? And what might a school have to offer that would best suit your educational needs?
Here’s some good news: While the guitar itself is of European ancestry, since we are a guitar-crazy culture, many of the premier schools for fretted musical instrument making and repair are right here in the United States. In fact, many international students travel to the U.S. to learn here and typically comprise up to one third of our student body.
With all schools, there’s not one that will check every box and perfectly meet everyone’s criteria. Students have different learning styles and personalities that flourish in various types of training programs. For example, my school, the Galloup School of Guitar Building and Repair, focuses on hands-on training to make sure students leave with a premium amount of time physically building and converging with musical instruments. But for some, this type of training may not be as flexible as they would like. So, let’s look at some of the options available in the world of lutherie schools.
Short-term training is geared toward students who want to quickly advance their skills and resumé in a reasonable timeline. At Galloup, we do offer short-term training, but it primarily focuses on bread-and-butter skills and problems that are commonly encountered in guitar repair and restoration. Additionally, the Galloup School has been authorized by Taylor Guitars as a Silver and Silver Plus Level Warranty Certification training facility. However, Galloup does not offer short-term training for guitar making.
Students have different learning styles and personalities that flourish in various types of training programs.
For those looking to build a guitar in a short amount of time, one of the most established short-term programs is the American School of Lutherie, operated by Charles Fox in Portland, Oregon. This is an incredibly well-balanced program focusing on the quality construction of a flattop steel-string and an electric guitar. Another great program is operated by Robert O’Brien in Parker, Colorado. O’Brien Guitars offers an all-hands-on-deck operation wherein students build a flattop instrument in roughly one week. For short-term archtop guitar training, Dale Unger at the Nazareth Guitar Institute does a great job. Students move through building 17" L5-style archtops to completion in the white (no finish applied) in one week. I’ve spoken to many students who’ve taken Dale’s class and they were more than happy with the experience. These are great options since they’re short and the training style is typically more personalized.
Long-term training, on the other hand, is a completely different situation, where classes can range from a few months in a private trade school to two years in an accredited college-based program. At Galloup, we offer long-term training that can extend to more than 2,000 training hours if a student wants to take all classes available. But although we are a licensed private trade school, we are a non-accredited program. So, as with all non-accredited programs, students must finance it themselves or secure a loan through a private lending institution.
Minnesota State College’s Guitar Repair and Building program in Red Wing, Minnesota—often called the “Red Wing school”—is a great example of a two-year, college-level course of study. Another medium to long-term option is the Roberto-Venn School of Luthiery in Phoenix, Arizona. To my knowledge, it’s the longest-running lutherie program in the United States, and it has produced many fine luthiers over the years. Roberto-Venn offers an 880-clock-hour program that allows students to take part in more of the design elements of guitar making. With both Red Wing and the Roberto-Venn schools, their accredited backing makes it easier to secure financial aid for those in need of assistance.
There is no one right answer. It’s up to the individual to determine what school and curriculum best meets their needs and financial preferences. In fact, many students choose to attend multiple programs to fulfill their education requirements.
For a full list of lutherie classes offered worldwide, you can check the Guild of American Luthiers at https://luth.org/resources/lutherie-schools/lutherie-schools-usa/. Not only do they offer a full listing, but the Guild is also a great source of information for inspiring luthiers.The tiniest TS on Earth has loads of practical upside and sounds that keep pace with esteemed overdrive company.
Solid Tube Screamer tones in a microscopic machine. Light and easy to affix to anything.
Small enough to lose easily! Vulnerable in the presence of heavy steppers?
$99
Olinthus Cicada
olinthus.com
The Olinthus Cicada’s Tube Screamer-on-a-postage-stamp concept is a captivating one. But contemplating the engineering impetus behind it begs questions: How much area does the pedal and mandatory/included TRRS breakout cable actually conserve? Where do you situate it in relation to other pedals so you can actually tap the bypass—which is the pedal enclosure itself! Would my neighbor’s cat eat it? As it turns out, there’s many good reasons for the Cicada to be.
For starters, small size and light weight on this order are a big deal. Flying with gear is stupid expensive. So, for players that don’t relish the antiseptic aspects of modeling, this micro-analog middle path could be a sensible one. Altogether, pedal and cable are about the size of a set of keys. You can stuff it all in a pocket, put clean laundry in your gig bag, and tour for a while, as long as the rain doesn’t soak your shoes.
All this assumes you roll with very small and very few additional effects. But if you can survive on overdrive alone, you can stick a little adhesive to the back—tape, Velcro, bubblegum, etc.—and affix the Cicada to almost anything. It sounds really good, too! A classic TS application—Fender combo and Stratocaster—yields soulful blues smoke. The same Fender amp and an SG means dynamite, raunchy, and rich Mick Taylorisms. It even does the Iommi stomp pretty well at high gain! I’m still not sure if the Cicada is a solution for a less-than-pressing engineering problem. Nevertheless, it opens up real practical possibilities and sounds more than legit in the process.
Your esteemed hosts of the 100 Guitarists podcast have been listening to Randy Rhoads’s body of work since they learned the word “pentatonic.” His short discography with Ozzy Osbourne has been emblazoned on both of our fingertips, and we’ve each put in our hours working out everything from the “Crazy Train” riff to the fingerpicked intro to “Diary of a Madman.” But in our extended Premier Guitar fam, we have an expert who’s been studying Randy’s licks since longer than either of us have been alive.
On this episode, we’re thrilled to be joined by Chris Shiflett—best known to you as the host of Shred with Shifty or as the Foo Fighters’s foremost expert on Randy Rhoads. Since growing up with these riffs in his ears, Shifty’s been making tokens of tribute to the later guitar slinger, from bespoke t-shirts to stuffed guitars.
Join us for Shiflett’s Randy Rhoads primer, learn why you should crank the outro to “S.A.T.O.” as loud as you can, and what Ozzy song makes this Foo cry.
Use code: PREMIERGUITAR10 for 10% off.
Offer valid until Dec 31, 2024. Visit http://bullheadamplification.com.
Limited edition Squier Stratocaster features iconic Hello Kitty design, high-quality craftsmanship, and versatile tones.
“Hello Kitty has a global community of devoted fans, and much like Fender, has transcended generations, culture, and geography. This partnership speaks to the joy and creativity both brands have inspired worldwide,” said Edward “Bud” Cole, President of Fender APAC. “It’s about more than just a guitar—this is about giving players a platform to express their individuality, with quality instruments, gear, clothing and collectibles that spark creativity, wherever they are.”
“As a cultural ambassador, Hello Kitty has been influencing a variety of industries, including music for 50 years,” said Craig Takiguchi, Chief Operating Officer of Sanrio, Inc. “In today’s dynamic landscape, where music and entertainment are constantly merging and inspiring each other, Fender’s legacy, and deep connection to pop culture uniquely positions them to become an even bigger part of our fans’ lives. We’re excited to partner with Fender to give our community new, creative ways to express themselves through these iconic quality instruments and supercute accessories, continuing to bring our vision of ‘One World, Connecting Smiles’ to life on a global scale.
The Fender x Hello Kitty 50th Anniversary Collection includes a Limited Edition Squier Stratocaster guitar and a Fuzz Pedal, alongside eye-catching accessories such as an electric pink instrument cable, gig bag, and a collection of unisex clothing. From Hello Kitty-themed straps to pick tins, hoodies, tees and trucker hats, these items celebrate the spirit of creativity, inclusion and fun that defines both brands.
Available globally, the Squier Limited Edition Hello Kitty Stratocaster builds on the success of the original, blending substance with style. First introduced 20 years ago, this exciting update to the now iconic Hello Kitty Squier features a supercute glossy finish in pink or white with signature Hello Kitty graphics on the pickguard, headstock and body. The Fender Designed™ humbucking bridge pickup delivers powerful lead lines and smooth rhythm tones. With an ergonomic “C”-shaped neck and contoured body, this guitar ensures comfort and playability for musicians of all skill levels, making it a future cult classic for collectors and players alike. A deluxe padded gig bag with Hello Kitty stitching is also included.
The limited-edition Made in Japan Stratocaster boasts a striking Pearl White finish with Hello Kitty’s trademark ribbon, a "C"-shaped maple neck, 9.5” radius fingerboard, and 22 narrow-tall frets. The guitar is equipped with high-gain Hybrid II Custom Voiced Single Coil pickups, providing versatile tones perfect for clean or overdriven play. Comes with a white hardshell case and certificate of authenticity, celebrating Hello Kitty's cultural influence.
"This collaboration with Hello Kitty is a perfect blend of music and pop culture," said Justin Norvell EVP Fender Product. "The limited-edition Squier Stratocaster merges Hello Kitty’s playful design with Fender’s craftsmanship, offering a high-performing instrument that's as fun as it is functional. Our Made-in-Japan exclusives bring an extra level of artistry and attention to detail, making them standouts for both collectors and players. From the guitars to accessories like straps and fuzz pedals, this collection sparks creativity and celebrates individuality, while staying true to Fender’s legacy of quality and innovation."
The highly anticipated collaboration has returned! Celebrate Hello Kitty's 50th Anniversary with the Fender x Hello Kitty Collection, featuring the beloved Stratocaster. This special edition includes a “C”-shaped neck, a 9.5" maple fingerboard, 21 narrow tall frets, and red dot inlays.
Collection includes:
- Squier Limited Edition Hello Kitty Stratocaster ($499.99) blending substance with style featuring a supercute glossy pink finish with signature Hello Kitty graphics on the pickguard, headstock and body. Available globally.
- Made in Japan Fender Limited Edition Hello Kitty Stratocaster (¥330,000 JPY) available solely at Fender’s Japan Flagship Store in Tokyo, The Made in Japan Limited Hello Kitty Stratocaster is a guitar filled with the bold and vibrant charm of Sanrio’s signature character, Hello Kitty—a leading figure in global Kawaii culture. It features a Pearl White body with her iconic ribbon, a "C"-shaped maple neck, and Hybrid II Custom Voiced pickups for rich Fender tones. Includes a Hello Kitty-engraved neckplate, hardshell case, and certificate of authenticity.
- Hello Kitty Fuzz ($99.99) A fun-loving fuzz like no other – the Fender x Hello Kitty Fuzz introduces a pop of color and charm to one of the pedal world’s most formative effects. Sporting an op amp based circuit with three simple controls, this pink-clad pedal kicks your guitar into wooly, splattering gain tones with unmistakable character. Added style points come in the form of a stand-out pink finish, white Fender witch hat knobs, Japanese translated labels, and, of course, Hello Kitty herself on the front panel. Available globally.
- Additionally, a selection of Made-in-Japan exclusive items, including the Fender Made in Japan Limited Edition Hello Kitty Stratocaster, cleaning cloth, strap blocks, home accessories, custom apparel, tote bag and more, will be available solely at Fender’s Japan Flagship Store in Tokyo. These unique collectibles, featuring adorable designs of Sanrio’s signature character, Hello Kitty, a global pop culture influencer, were created to celebrate her 50th anniversary—an icon that transcends generations and reinforces Hello Kitty and Fender’s deep global cultural presence.
This limited-edition Fender x Hello Kitty collection is a celebration of creativity, inclusivity, and self-expression through music. By blending iconic design with Fender's renowned craftsmanship, this collection invites players of all levels to embrace their individuality and make bold musical statements.
For more information, please visit fender.com.
The Meteora’s upscale second outing has a lot more in common with its offset siblings than its sleek modern looks imply—and that’s a wonderful thing.
Excellent array of tones, from heavy to bluesy, indie, and funky. Great playability.
Pricey. Knobs feel somewhat rough. On-the-fly contour adjustments take some getting used to.
$2,249
Fender American II Meteora
fender.com
When Fender debuted the Meteora body shape in 2018 (as the Parallel Universe Meteora), I was among those who immediately thought it looked like a pretty worthy addition to the company’s venerated line of “offset” guitars. Taken in hand, though, the guitar may have struck some as having a bit of an identity crisis—which may account for the changes we see in the third iteration, the new American Ultra II.
All Metoras feature an intriguing blend of classic Fender elements (Strat-style headstock, Jazzmaster/Jaguar-esque outline) and in the case of the Player Plus Meteora HH and the American Ultra II, more Gibson-like appointments (humbuckers and 3-way selector). But whereas the Telecaster-like Parallel Universe model and Player Plus HH leaned a little more retro, the American Ultra II both tilts more modern and fine-tunes some of the original’s tonal quirks and limitations.
Diverging Contours
Available in three finishes (here we’ve got Texas Tea), the latest Meteora has Fender’s new Haymaker humbuckers, with exposed coils and matching pickup rings, that alongside the anodized aluminum pickguard and knurled metal knobs, lend a more hard rock/metal aesthetic than the original Meteora’s WideRange-styled pickups and brighter finish options. (The new avalanche and ultraburst finishes in particular, with their white and crème pickups, respectively, are reminiscent of ’70s and ’80s DiMarzio-outfitted rock machines.) Having demoed the Player Plus Meteora HH inPG’s First Look video, I’ll admit I prefer that series’ looks. But there’s no arguing that both fundamental tones and the myriad permutations proffered by the American Ultra II’s unusual tone-control array feel much more useful and well thought out this time around.
Wait, “unusual?” If you’ve googled this guitar, chances are you’ve seen the same conflicting information I found. Some sites say it has two tone controls, others (including the manufacturer’s at publication time) list a master volume, a master tone, and a bass-contour knob. Upon plugging in and twiddling knobs, though, I was immediately confused and, honestly, initially not very impressed. So I looked through the case, found the manual, and finally came to the truth: The Meteora is actually devoid of traditional tone controls, using instead a master volume, a bass-contour knob (nearest the output jack), anda treble-contour knob (middle). This setup was a first for me. Also, unlike the Jaguar, the alder-bodied Meteora has a standard Fender-scale 25.5" maple neck, with an ebony fretboard and employs the company’s “modern D” profile. There’s a Graph Tech TUSQ nut, too, and sealed locking tuners.More Offset Than Meets the Eye
I tested the American Ultra II with an EL34-powered Jaguar HC50 (with a ceramic-magnet Weber Gray Wolf), a ’76 Fender Vibrolux Reverb (with alnico Celestion G10 Golds), a KT66-driven Sound City SC30, and a bunch of drive, fuzz, delay, and reverb pedals. Through the two latter amps combined, the Meteora II’s contour controls proved most powerful, yielding a pretty astonishing array of sounds—particularly with fuzz pedals. With the traditional control scheme on my favorite offset (and main band guitar, a Jaguar with Curtis Novak JAG-V pickups), I primarily use the lead circuit’s tone knob (or the rhythm circuit) to tame fuzz pedals—and I find that setup more versatile than a lot of other guitars. But the Meteora’s contour knobs take things much further, letting you effectively revoice filth pedals in ways otherwise only possible with an adjacent EQ pedal.
With both contours full up, the Haymaker pickups still lean brighter than some dual-’bucker fans might prefer—but not as strident as the Player Plus units. And the bass contour is especially helpful for warming/toughing up the bridge unit, as well as cleaning up low-mid clutter you might encounter with the neck pickup soloed and dimed. With a clean-ish tone and both pickups engaged, dialing volume and both contours back a bit yields wiry, muscular funk tones. Boost the volume back up a bit and hit the S-1 coil tap, and you get leaner funk tones very much in the Strat realm. In all, the variety of sounds possible with this control scheme is almost revelatory. So much so that it’s a wonder more guitars don’t go this route—because you’re no longer limited to just darkening or lightening a pickup with a single knob. The crossover EQ points between the two controls are well-tuned to complement each other and open up possibilities you simply couldn’t get with standard tone controls. And the treble-bleed circuit assures that volume adjustments don’t muddy things up.
The Verdict
Whether the tweaks to the American Ultra II Meteora alleviate its somewhat vague positioning is up for debate. Fender offset fans tend to fall in either the traditionalist/vintage camp or the more modern “I like the shape but not the weird switches and hardware” camp. And, to most eyes, the Ultra II probably looks pretty modern despite the vintage neck and headstock tint. But tonally, even though the control scheme looks straightforward, the array of available tones is far more akin to the versatility afforded by Jaguar and Jazzmaster circuits than, say, a modern rock guitar. It is a bit of a bummer that the Ultra costs twice as much as the Player Plus HH (albeit with hardshell case) but has no vibrato option. Considering its sheer tonal quality and versatility, the latest Meteora absolutely has the edge over its predecessor—but I’d love to see future versions fully embrace their offset-ness with a vibrato system befitting the Meteora’s sonic forebears.