FALL 2018
Meet the Luthier
Craig Howie
The Guitar of Your Dreams
Rick Shaw
The Dizzaverse Explained: Part-3
Mike Nash
Ask-A-Luthier
Steve Mason www.GuitarShowMagazine.com
Fall 2018
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Fall 2018
Guitar Show & Custom Luthier Magazine
2018 Fall Issue
Vol. 4 Num. 2
IN THIS ISSUE... 3 Are you attracting more vendors and attendees? The editor’s learned experiences! Duane M. Evarts, Editor-in-Chief of Guitar Show Magazine, test drives one of Craig Howie’s “Escape Series” Guitars at the 2016 Colorado Guitar Show & Custom Luthier Expo.
4 The Guitar of Your Dreams
Hey, Event Organizers… Yes, I’m talkin’ to you! Which is more important, the left wing or the right wing of an airplane? We all know you’ve got to have both for the thing to fly! So! are your marketing efforts designed to attract vendors or attendees? You know need both to make your event fly! I’ve seen some organizers market their event using only an email address and/or a phone number! In today’s world, I simply don’t see how that can fly. So what can you do to help improve both vendor and attendee numbers? Here’s what I have learned... At the very least, organizers should make a “freebie” WIX (or other) website and/or a Facebook page. I’ve also noticed that some organizers didn’t have their site or social media pages updated with current information. Vendors and attendees could very easily view this as a lack of enthusiasm by the organizer. No one is going to spend good money on a vendor table or waste time on a long drive if they don’t see that an event is well promoted and attended in the past. For starters, to help improve both vendor and attendee numbers…I encourage you to maintain your website and social media pages by keeping them accurate and up to date! And a final thought!... Don’t post only pictures of guitars at your events. Vendors need to know that you are able to bring in a crowd. So even if you have only a small turnout, make sure you show some pictures of people at your event picking up or playing guitars and interacting with vendors. Until next time…”play skillfully with a loud noise on an instrument of strings.” - Ps 33:3 Duane M. Evarts, editor@guitarshowmagazine.com
6 The Dizzaverse Explained—Part 3 Mike Nash shares his experiences as a professional luthier.
8 Meet the Luthier Craig Howie is a luthier located in Longmont, Colorado with a patented Nautilus design for his hand-crafted custom guitars.
10 Ask-A-Luthier Luthier Steve Mason answers your questions.
11 The Professional Luthier Directory A list of verified individuals actively involved in the professional art of “lutherie”.
12 Upcoming National Guitar Show Directory A list of guitar shows, expos and festivals...many at which you can pick up a hard copy of Guitar Show & Custom Luthier Magazine.
Cover Photo - courtesy of Howie Guitars. Guitar Show & Custom Luthier Magazine is published bi-annually and distributed at regional guitar shows, festivals, expos, by direct mail and at better music-related businesses. The contents of this publication may not be reproduced in whole or in part without prior written permission from the publisher. Advertising - Promoting your business to guitar-buying enthusiasts is critical to growth. Guitar Show & Custom Luthier is one of the best ways to reach your target audience in a nationally distributed, high-quality, glossy publication. Information about advertising is available online at www.guitarshowmagazine.com The views expressed are those of the respective contributors and are not necessarily those of the publisher, editor or staff. All advertising material is subject to publisher’s approval. Guitar Show & Custom Luthier welcomes, but assumes, no responsibility for loss or damage to any and all unsolicited articles, photographs or art. If you would like to be highlighted in a future “Meet The Luthier” article, contact:
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Copyright ©2018 by DMEVARTS, LLC - All rights reserved.
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Rick Shaw of Waco, Texas details things to consider when working with a professional luthier in building YOUR guitar.
Fall 2018
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By Rick Shaw, Luthier & Owner of Shaw Handcrafted Guitars are looking for something completely unique or a more traditional style guitar. Next, choose a professional “Master Luthier” and share with him or her everything about your perfect guitar – the body, neck, woods and materials, colors and finishes, hardware, pickups and other electronic configurations. You ask questions and ideas are shared. You must be able to work closely with your luthier every step of the process in order to create the guitar of your dreams together. Every guitar player dreams of someday owning the perfect guitar - an instrument with an
Some custom guitar builders are little more
impeccable combination of tone, playability
than "guitar assemblers". In other words,
and elegance. It's the reflection of your own
they’ll simply use manufactured necks or
personality, playing style and unique sound.
bodies from a kit.
That's why a truly custom guitar is designed and handcrafted for just one person - you!
Kits are fine for someone that wants to build
Your involvement in the creation of your gui-
their own guitar or to begin learning the art of
tar is crucial to ensuring that it is the perfect
lutherie; but a kit may not include specific
instrument for you.
parts or woods that you would have preferred for that perfect guitar you were
The journey to designing the guitar of your
dreaming of. The components of your perfect
dreams begins with your vision, whether you
guitar's neck and body should arrive at a master luthier’s shop as raw wood, not parts. There is something very unique and personal when your guitar's neck is created and shaped by hand from start to finish. After all, you chose the materials, the radius of the neck, the
the most beautiful, best playing, best sound-
finish, the fretboard, fret
ing, one-of-a-kind guitar you have ever
size and style, inlays
played…
and binding. You picked the style and finish of your guitar's
The guitar of your dreams...
body and the type of woods used to create
Rick Shaw built his first guitar in1998. Up to
it. You chose the gui-
that point, he had been a corporate pilot for
tar's individual hard-
ten years and spent much of his time building
ware elements - bridge,
fine furniture. One day he looked at his guitar
tuners, switches, knobs,
and thought "This cannot be too hard to
other electronics and of
build". Well, that was the beginning of Shaw
course, your guitar's
Guitars. Rick's desire is to craft guitars that
pickups.
surpass the mere physical beauty of the instrument and would love to help create your
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A professional luthier’s
dream guitar, whether it be a redesign of an
goal should be to de-
existing model or a completely unique crea-
sign and create for you
tion. - Editor
Fall 2018
Guitar Show & Custom Luthier Magazine
www.GuitarShowMagazine.com
Fall 2018
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By Mike Nash, Luthier & Owner of Alien Guitar Factory We continue now with the construction of a neck-through, 5-string electric bass guitar known as the “Dizzaverse” named after Dan “Dizz” Winks. There were design elements in the original neck that we felt were incompatible for this project, so Dan and I decided to make a new neck blank with more flamed maple, and padauk instead of purple heart. So we began construction of the new fretboard. We first used a jointer and table saw to create straight and square sides along the material, then we used the planer to mill down the katalox to precisely 1/4” thick.
To slot the fretboard, I constructed a sled out of scrap materials designed to accompany my expensive fretboard table slotting blade. I covered a long ruler with blue tape and clamped it to the surface of an existing bass guitar with a 34 inch scale. Using a simple mechanical pencil, the fine tip allowed me to precisely mark the location of each fret. I then placed the ruler on top of the fretboard material and transferred the
marks in the same manner, including the nut. Then with my marks facing outward along the outer edge of the fretboard, I placed the material face down on my sled and followed each of my marks accurately, with each fret slot at 3mm deep and the nut at 4mm deep. I chose to run the fretboard both forward and backward over each slot, which allowed me to ensure the accuracy of the depth and to reset the sled for the next cut. I repeatedly ran the sled over the blade at the 4mm depth until I had cleared out the entire slot for the nut. With that task complete, our next one was to cut the taper of the fretboard. Our basis for this was a 5-string electric bass with a 34 inch scale length. After transferring the measurements on to the desired portion of the wood for our fretboard, we cut the material one eighth of an inch larger than the line we were following. This allowed us to find a more precise way to remove the material down to our pencil line afterward. I had a large piece of marble that used to be a coffee table. It has a perfectly flat surface allowing me to use double sided tape and to lay sandpaper in a long strip for the material removal task. Next, I found a straight and true piece of Oak. It may be more beneficial to find a piece of iron or to acquire a fret leveling beam for this task. Katalox is extremely hard material and it may be beneficial to use a drum sander to get even closer to the pencil line before sanding on the straight edge table.
I used the long piece of Oak, as a guide fence, clamped in place next to the sandpaper. This allowed me to keep my fretboard at a perfect 90 degrees to my marble table. It is still possible to put necessary pressure on small areas where more is needed to be removed. Patience and constant checking are “always” required. After completing both sides of the fretboard to establish the final taper, we had our template by which to taper the neck itself. We first used a piece of tape to make our pencil more visible, and drew an accurate center line down the middle of the fret-
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Fall 2018
board. Then, placing the fretboard precisely where it will soon exist, I drew a pencil line around the fretboard for reference for my next cut. This included the top and bottom of the fretboard. It was also at this time, we established the shape of the headstock and drew it on to the neck blank - including the location of the tuning head holes. After drilling out the holes for the tuning heads, I then drew a line to establish the location of the nut and marked the nut location clearly, along the sides of the neck blank as well, so I knew where to stop cutting with the band saw. So with the holes drilled and the shape of my head stock drawn in pencil, I took the neck blank to the band saw and cut off excess thickness from the top that would establish the new face of the headstock itself. I stopped cutting approximately 1/2 inch before getting to the line I drew denoting the location of the nut. With this excess flap of wood still in place, I cut out the shape of my head stock, while I could still see my pencil line. I also continued to cut the lines I drew around the fretboard, tapering the neck; being sure to leave ⅛ inch of excess material outside of every pencil line and also leaving plenty of space for hand carving the contours of the neck blank where they meet the body and headstock later. It is at this point that you can finally cut off the excess flap from the face of the headstock. Next time, we will be gluing the fretboard to the neck and perhaps talk about body and neck shaping.
Drum sander clean up after band saw.
Editor - Mike Nash rediscovered an interest he had from his youth, in how electric guitars were made. He decided to become a student of lutherie at Red Rocks Community College. He now builds custom guitars under the name “Alien Guitar Factory” based in Castle Rock, Colorado. For more information about Mike’s current projects and available instruments, contact him at: alienguitarfactory@gmail.com or look up Alien Guitar Factory on Facebook. Guitar Show & Custom Luthier Magazine
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Fall 2018
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By Duane M. Evarts When did you actually begin your career as a luthier?
What did you do before becoming a luthier?
I started making a huge mess and “failing fast” in my garage in July of 2015. But by the end of the summer I knew I was going to go for it.
I was a high school math teacher for 5 years before becoming a professional triathlete. I raced professionally in triathlon for 2-1/2 years and then switched to professional running for 3 years. While competing, I also had a side coaching business where I coached endurance athletes
What sets you and/or your guitars apart from other fine luthiers and their creations? I’d always heard that the age or type of wood used was the key to how a guitar would sound. I had studied the acoustic properties of different architecture designs, such as the Mormon Tabernacle and Grand Central Station’s Whispering Wall when I was in college. So I began to imagine how the shape of a guitar might affect it’s sound.
Share the circumstances that led you to be involved in the art of lutherie. It was all my wife’s fault! She saw me struggling with my current job, racing and coaching, and knew I wanted to move on to something else. So, one day she said, “What if you built guitars?” It took me a while to make the leap; but that one simple question stuck with me and I finally went for it. I had been playing guitar since I was 12 years old. My dad taught me on his 1964 ES330 Gibson. Right before I decided to go for it, he gave me that guitar as a gift. It all seemed meant to be! And ever since, I have referred to the Gibson if I needed guidance for my builds. What was the defining moment when you realized that you were going to become a professional luthier? It must have been the first time I plugged in one of my builds and it actually worked! Leading up to the career change, Jen, my wife, and I had begun talking a lot about “design thinking”. She is the Librarian at Burlington Elementary and is in charge of an amazing “Maker Space” there. It’s all about letting kids design and build and mess up and build some more and mess up more… One of Jen’s sayings that I think about every day is “fail fast.” Basically just keep doing the work and celebrate a failure because it will lead
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to a better product. I’ve been doing it that way ever since. Right before starting to build, I read two very important and influential books. “A More Beautiful Question” by Warren Berger, and “How to Fly a Horse,” by Kevin Ashton. Both books helped me understand the concept of “beginner brain”, which basically means a beginner, with zero education on a topic, can often come up with new and innovative ideas; because as a beginner you don’t know what all the so-called “rules” are. Armed with the “design thinking” beginner brain approach, I went out to my garage with a band saw and hand router and started making a big mess with no training. Now, you can be sure that all of the mistakes I’ve made, and will continue to make as I innovate, have been expensive! It has probably cost more to do it this way than if I had enrolled in a school. But the results mean so much more to me doing it this way. Fall 2018
I was obsessed with the “Golden Ratio”. Nature’s perfect example of this golden ratio is the nautilus shell. As I jumped into designing my own guitar, I decided to base every aspect of the instrument around the golden ratio and nautilus shells. This has evolved to our current design which features two large nautilus shells carved inside our flagship “Escape Series” guitar. The shell shape causes different resonating frequencies when they vibrate, then we attach piezo pickups in strategic places on the shells to pick up these frequencies. We have since landed a U.S. patent on this design. As a luthier, what and who inspires you the most and why? I could talk for hours about this question! I think of the guitar not only as an instrument but also as an agent of positive change. It has the ability to bridge ethnic and gender gaps. It brings people together who normally wouldn’t be caught dead together. It was one of the first and most important connections I made with
Guitar Show & Custom Luthier Magazine
We also developed a series specifically for Ethan Kotel, formerly of the Denver based band The Hollow, and now a producer at Evergreen Studios in Colorado. We named it the Orev Series. It’s a massive 6-string bass with fanned frets boasting a 37 inch scale length on the low B string. Ethan and I designed it together every step of the way. We put in Delano Xtender 6HEs pickups along with a Bartolini PreAmp and built the body out of an extraordinary piece of Spalted Maple.
my dad growing up. No matter what was going on, we could always connect over playing guitar. It has been the leading instrument in the music that has literally changed our culture and our lives. Imagine if George Harrison never had a guitar! So for me to be able to make an instrument that has the capability to change lives is truly an honor. It gives me a sense of hope and immortality. I like to imagine that my guitars will be making beautiful music long after I am gone. How far and wide have your guitar creations gone? Jen bought me two maps that we have hung on a wall in our house. One is of the United States and one of the world. We have pins placed everywhere we have sold a guitar. We have yet to break onto the global stage, but we have sold guitars from East to West over the entire United States. So far, we have been the most popular guitars in the Carolinas and on the West coast. Who are the most well-known owners of a Howie guitar? We developed a special Escape Series specifically for legendary blues man John D’Amato in Nashville. It’s very unique. John had several things he wanted in a guitar, such as an extra wide neck for his big hands, a 6way toggle switch and a train of 3 Bare Knuckle P90 sized humbuckers. This guitar is featured on the cover of John’s new album “Blood On The Strings” set to release on August 1, 2018. You can check it out on his website. www.johndamato.net I absolutely love that guitar! It has been our most popular Escape so far.
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What do you like to do when not making guitars? Hang out with Jen and my two boys Griffin and Grable. This reminds me that two of our series of guitars are named after my boys. The Griffin Series is a semi-hollow body with only one nautilus shell carved inside. The Bull Series,(Grable’s nickname is Bull), is our bass line and is built from the Escape Series body, but had two horns instead of one. What qualities should a professional luthier have? Wow… this is a hard question! There are so many challenges that go along with the job. If I had to pick just one, I would say perseverance. There will always be mistakes. Sometimes these mistakes will ruin the entire build. It’s so frustrating and heart breaking, but you have to just keep fighting for a better result. Also, marry someone who can talk you off the ledge when you make a big mistake! I know, its not really a quality, but seriously, I think it’s vital to have someone in your corner who can encourage you when things go wrong.
Any other thoughts you would like to share? I would never be where I am right now as a luthier without Jen and my parents. Most importantly, they support me emotionally and keep my hopes up as we grow in this difficult business. On the financial side, Jen works her tail off as an educator to help support our family and my parents helped with the startup funding to launch Howie Guitars. Most notably, my parents paid the legal fees to secure our U.S. patent on nautilus design. This means so much to me because it shows that they believe in me and the guitars. One last thing that I would like to bring up is my passion to promote more female guitarists. Recently, I’ve started giving presentations to high school kids on lutherie and guitar development in general. One of the things I like to bring up is how little attention the amazing female guitarists are getting out there. I ask the students to search the top 100 guitarists on their phones. Then have them read off the lists from various publications… Rolling Stone, Guitar World, etc. There are more men on the list with the first name Joe, than there are women all together. This needs to change! It’s not that amazing female guitarists don’t exist. They just aren’t being recognized. If you are one of these female guitarists out there reading this, look me up. I have a guitar for you!
If you could share just one thing to someone considering lutherie as a profession, what would it be? Set out to build guitars that you yourself would want to play and then from there, don’t be afraid to ask “What if?” questions. Jen and I started with her question of “What if you built guitars?” and then everything after that has been a series of “what if” questions. Sometimes it may be as simple as “What if you moved the switch here?” Another time it may be a very big question such as “What if you carved the Nautilus shells right into the body?”
Fall 2018
I met Craig & Jennifer Howie at the 2016 Colorado Guitar Show & Custom Luthier Expo. The price point for his hand-crafted instruments was well within the range of many mass produced guitars. I knew that someday I would have to write a “Meet The Luthier” article about Craig and his unique patented nautilus shell designed guitars. - Duane
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Ask-A-Luthier Answers To Questions On Stringed Instrument Repair by Steve Mason Now you need to trim the excess back and cut the binding rabbet. More Stew Mac things you need: Binding router bits, binding strips, big rubber bands and glue. File the burr off the bottom inside edge of the binding. Dry fit to make sure it fits. Glue on one half at a time, using the big rubber bands to clamp it in place. File and polish off the excess binding.
Replacing A Guitar Back Q: I have an Epiphone EJ200 I bought with some very bad back damage and I'm wanting to put a laminated maple back on it that I saw in a Stew Mac catalog for $32.90. I was wanting to know if I have to brace it? Thanks, Jay A: If you are certifiably crazy, and have a lot of time on your hands, go ahead, replace the back. A professional luthier would charge you at least $500 to put on a new back. It is that much work. The Stew Mac back you are referring to is for an arch top guitar. I don't have a j200 here to measure so you'll have to match their measurements to your guitar. My eye tells me that some arch tops are j200 shaped. If the measurements are close enough, the back should fit. If you order it and it doesn't fit, Stew Mac will take it back, you'll just be out some shipping. This back is so thick and strong that you do not need to brace it. Guild made a guitar called the D-25. It had exactly this kind of back (except that the outside plys were Mahogany). It made the guitar very heavy but they saved a lot of production costs by not having to cut and fit braces. Fernando Torres built a guitar with a paper machĂŠ back to demonstrate the importance of the top in sound production. The top is the most important, but there is lots of evidence for the usefulness of a good back. This is not a good back. Chip off the old back and peel off the old binding. Use a sanding block to cut the gluing surface of the liner strips until there is a perfect fit between the liner strip and the new back. In a perfect world the back should sit in place, held only by gravity, with no gaps showing. In reality you may need to pinch it closed here and there. The idea is that you don't want lots of stress in the plates caused by crushing them together with clamps. The joints should fit and the clamps should just hold them closed. Be sure that you have enough clamps. Spool clamps are the best thing to use. You can buy them from Stew Mac for a reasonable price, or you can save a couple of bucks by making some yourself. Use the catalogue picture, as a blue print. You will need at least one clamp every two inches. Putting clamps on touching each other is best.
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Fall 2018
Now, for finishing the back: You have a urethane finish on that guitar. Nitrocellulose, Shellac, and Oil varnish are made up of solids floating in a solvent. When the solvent evaporates, the solids clump together. At any time in the future you can just add solvent and re-float the solids, making these finishes very repairable. In a can of urethane finish you have particles of epoxy resin and hardener held apart by the solvent. As the solvent evaporates the resin and hardener find each other and make a bullet proof epoxy finish. This process can not be reversed with solvent. You are going to have a witness line where the new and old finish meet. So, choose an unobtrusive meeting spot. The spot where the new binding meets the old side would be my choice. Any type of finish (except Bulls Eye Shellac) will be fine. Brushing on urethane might be the easiest. I French polish (Freedom polish) or spray nitrocellulose. The new back is going to be lighter than the sides. You can try to add amber stain to the finish, or just give the back a lot of sun. You won't need filler on maple. Stack the finish on, cut it flat with 400 grit sand paper. Put more finish on and flatten it with 600. Then buff. If you sand through, start over again. If this was my only beloved guitar, I would slop the broken back together with epoxy and wood chips. This is not a valuable collector's item guitar. The cost of virtually any major surgery will exceed its value. Any repair to the old back will be as acoustically sound as this new back. If it's solid from the sides up and has fair action, just making the back not buzz or give you splinters is well enough. If you are looking for a taste of lutherie, I would say, make a Stew Mac guitar kit. It's not a lot more work than you are proposing and when you are done you will have a good, solid wood, guitar to play and you will know a lot about guitar making. Maybe you'll start your next guitar from scratch.
About the author: For a day job, Steve is a luthier: one who repairs, improves and creates stringed instruments. To make a guitar, he starts with a tree and carves away everything that doesn’t look like a guitar. He plays fiddle, guitar, bass, mandolin and sings in the Alferd Packer Memorial String Band: alferdpackerband.com. Steve also maintains a wealth of information of interest to luthiers on his website: ask-a-luthier.com Guitar Show & Custom Luthier Magazine
Get listed in our Professional Luthier Directory! For more info visit: guitarshowmagazine.com/advertisers.html ARKANSAS Nunley Lutherie Rogers, AR facebook.com/nunley.lutherie
COLORADO (cont.) Guitar Repair Doc Franktown, CO guitarrepairdoc.com
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NEW YORK The Guitar Specialist, Inc. Goldens Bridge, NY Guitarspecialist.com
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MINNESOTA Tim Reede Custom Guitars Minneapolis, MN reedeguitars.com NEW HAMPSHIRE King Blossom Guitars Grantham, NH kingblossomguitars.com NEW MEXICO Keith Coleman Luthier Albuquerque, NM keithcolemanluthier.com Longbow Guitars Rio Rancho, NM longbowgtr.wix.com/johnlongbow-designs NEVADA Vegas Guitars Custom Shop Las Vegas, NV vegasguitars.com Galaxy Guitar Products USA Las Vegas, NV galaxyguitar.com
Fall 2018
OREGON Charles Fox Guitars Portland, OR ergoguitars.com Pheo Guitars Portland, OR pheoguitars.com Steinegger Guitars Portland, OR steinyguitars.com PENNSYLVANIA Beardly Customs Washington, PA beardlycustoms@gmail.com Bucks County Folk Music Shop New Britain, PA bucksmusic.com Naugler Guitars Green Lane, PA nauglerguitars.com RHODE ISLAND Holcomb Guitars Providence, RI holcombguitars.com TENNESSEE Hampton Guitars Memphis, TN Find us on Facebook
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TEXAS David Newton Guitars Beaumont, TX davidnewtonguitars .squarespace.com/ Shaw Handcrafted Guitars Waco, TX shawguitars.com UTAH Joe’s Guitars Sandy, UT joesguitars.com Steve Fischer Guitars Cedar City, UT stevefischerguitars.com
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Sunday, September 9, 2018 Mt Dora, FL - Lake County Musicians Swap Meet https://www.facebook.com/chicagolandvintagevoltage Sunday, September 16, 2018 Seattle/Tacoma, WA - SEA/TAC Guitar Show https://www.seatacguitarshow.com Friday/Saturday, September 21-22, 2018 New Braunfels/ San Antonio, TX - San Antonio Guitar Show http://www.jukejoint.com/saguitarshow.htm Saturday/Sunday, September 22-23, 2018 Fletcher/Asheville, NC - Carolina Guitar Show http://www.bee3vintage.com/ Saturday/Sunday, September 29-30, 2018 Van Nuys, CA - 14th Annual LA Amp, Custom Guitar and Pedal Show! https://www.ampshow.com/ Saturday/Sunday, September 29-30, 2018 Chesapeake, VA - East Coast Guitar Expo https://eastcoastguitarexpo.com/ Sunday, September 30, 2018 Marlborough, MA - Metro West Guitar Show! http://sixstringmusiccompany.com/ Saturday, October 13, 2018 Erie, PA - Great Lakes Guitar Show & Musicians Swap Meet http://www.guitarandbassexpo.com Saturday/Sunday, July 14-15, 2018 Oaks, PA—Great American Guitar Show (SUMMER PHILLY) http://www.bee3vintage.com/
Sunday, October 14, 2018 Wallingford, CT - Northeast Guitar Show http://northeastguitarexpo.com/
Friday/Saturday/Sunday, August 10-12, 2018 Frisco/Copper Mountain, CO - Guitar Town at Copper Mountain https://copperguitartown.com/
Saturday, October 20, 2018 Lancaster, PA - Central PA Guitar Show http://www.guitarandbassexpo.com
Saturday, August 11-12, 2018 Grayslake, IL - Chicagoland Vintage Voltage - (Guitars Show & Sale) https://www.facebook.com/chicagolandvintagevoltage/
Friday/Saturday/Sunday, October 26-28, 2018 Woodstock, NY - Woodstock Invitational Luthiers Showcase http://woodstockinvitational.com/
Sunday, August 12, 2018 Mt Dora, FL - Lake County Musicians Swap Meet https://www.facebook.com/chicagolandvintagevoltage
Saturday, November 3, 2018 Rockford, IL - Rockford Guitar & Drum Show http://ramiawards.com/guitarshow/
Saturday, September 8, 2018 Shreveport/Bossier City, LA - Bossier City Guitar Show https://www.facebook.com/shreveportbossierguitarshow/
Saturday/Sunday, November 10-11, 2018 Oaks/Philadelphia, PA - Great American Guitar Show (FALL PHILLY) http://www.bee3vintage.com/
Saturday/Sunday, September 8-9, 2018 Shreveport, LA - Bossier City Vintage Guitar and Music Gear Show https://www.facebook.com/shreveportbossierguitarshow
Sunday, November 19, 2018 Taylor, MI - Michigan Guitar Show http://www.gordysmusic.com/guitar-show.html
For more information about any of these and other upcoming shows visit: www.guitarshowmagazine.com Not all events listed are distribution partners of Guitar Show & Custom Luthier Magazine. Thank you to all the event organizers that do share this magazine with their attendees and other guitar enthusiasts across the nation! 12
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