Frequently Asked Questions

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One of my goals was to leverage the flat headstock's sturdy, uninterrupted grain flow, minimal environmental impact, and substantial labor reduction. To enhance the break angle behind the nut, we've adjusted the drop-down slightly deeper than a typical Fender, recessed the tuning machines, and employed short posts, along with a discreetly placed string retainer bar underneath the fret wrap

The headless lineup utilizes a 3.5 degree angle, as well as a drop down. I've found this creates an optimal pressure at the nut for tuning stability in vibrato while also eliminating the need for a retainer bar.

Lastly, Angled headstocks are available to custom order, Scarf jointed in the headstock and plated on both sides. This construction method does not interrupt the flow of grain and ultimately the flow of vibration along the neck shaft, while being nearly invisible to the eye.

When designing my guitars, I found the first practical step is deciding which string gauges to use, in what tuning, for what scale length. These 3 crucial variables have an effect on obtaining a clear, responsive note but also serve as a foundation when developing our Nut, Heel, and Proportional Spacing dimensions. 

I've found using a progressive tension string set, in which the tension gradually increases from high string to low string, allows for articulate bottom end, a pronounced middle, and a buttery smooth high end. Using our known gauges we can then establish our Nut and Heel width accordingly. Typically 0.125" of fretboard over-hang at the nut, and .1575" of over-hang at the 13th fret to allow for the wider timbre of the string, on either side of the string. 0.417" Spacing at the bridge and 0.246" proportionally(Side to Side) at the nut.

My guitars feature an additional tenon extending from the end of the heel. Similar to a set-neck design, this tenon fits into a mortise beneath the neck pickup, serving as a secure stop to prevent neck slippage caused by the tension from the strings over time (known as "Creep").

An inherent advantage of this construction technique is the slightly enhanced sustain reminiscent of a set-neck guitar, combined with the crisp tone characteristic of bolt-on designs that we all appreciate.

Both bolt-on and set neck options are available for customization.

We primarily utilize a hard wax oil finish for our guitars. The process begins with sanding the guitar to a minimum of 320 grit on the "flats" and 600 grit on the end grain, which tends to absorb more finish and darken unevenly in color. This higher grit closes off more pores, allowing less finish to penetrate.

Once the guitars are inspected and free of scratches, defects, and unwanted imperfections, they receive a generous coat of a two-part hard wax oil with catalyst. This finish, a blend of oils and waxes, absorbs into the wood to seal and protect it without building up layers or obscuring the natural grain.

The first coat is allowed to absorb into the wood pores before excess is carefully buffed off. After two days of hang drying, the surface is scuffed and given a second coat. Once the oil has fully cured after a few days, a grain fill is applied, followed by another round of coating before hanging for another week. This process is repeated for both the neck and body.

After a week, once the oil has cured, the neck receives a finishing paste wax coat, while the fretboard is treated with readily available tung oil.

For the body, a two-part ceramic coat is applied, consisting of two base coats with a 9h hardness and a top coat with a 7h hardness. The softer top coat serves as a protective layer over the base coat, providing added durability and protection.

We opt for a Waterborne, Non-Toxic, High Solids Polyurethane finish.

After meticulous inspection to ensure the guitars are free of scratches, defects, and unwanted surface imperfections, the process diverges based on the desired color of the guitar. It may be dyed or left natural before entering the booth. Here, we begin with a wash coat of sanding sealer, followed by two additional coats before proceeding to the thicker High Solids Polyurethane.

Over the course of 1-2 weeks, we gradually build up and cure enough coats to achieve a smooth, glassy surface, ready for the application of color coats. These color coats are then sealed in with several final coats of either Matte or Gloss Top Coat. The guitars are left to hang for 30 days before assembly.

We primarily source our pickups from BareKnuckle Pickups in the UK. We feel that the tone and clarity is unmatched, and their attention to detail runs parallel to our beliefs. If you had a different tone in mind, or would like to supply your own, please feel free to reach out.

Each guitar control layout is customizable. We use a 1vol, 1tone, 3 way toggle, configuration as our standard. 

Push-pulls, DTDP switches, and kill switches are all available.

We are located in Hamilton, Ontario, Canada.

We ship World-Wide, fully set up and ready to play in an Air, Yorkville or Gator Case to keep your guitar safe from damage.

We accept payments from all major credit companies, PayPal, Cash, or Crypto(Ethereum or LoopRing)

Yes! With an initial non refundable deposit of 30% to get started, 30% before finish, and the remaining 40% prior to shipping. You will be contacted and invoiced at each milestone.

If you have another payment schedule you'd like to discuss do not hesitate to ask! 

Our neck profile has come a long way from a standard C, or D shape. Using Bezier Curves, we've created a comfortable, elliptical shape at the nut. As you venture down the neck towards the bridge this shape casually morphs itself, offset to the bass side, allowing a more comfortable and smooth transition between playing positions.  Custom Neck profiles are available.

All our necks feature a minimum of three-piece laminations, always in the quarter-sawn orientation. This orientation ensures a significantly more rigid and stable neck compared to alternatives like flat-sawn or one-piece necks. We've discovered that more laminations tend to compress the sound, and we generally don't recommend exceeding seven laminations.

To enhance the sound quality of the neck, it's crucial to maintain these laminations within a set parameter along the centerline of the neck, ensuring consistent thickness along the sides. 

Over time, these laminations may undergo "Lamination Shift" as a result of fluctuations in environmental conditions, leading the different wood species to react and expand or contract at different rates. To mitigate this issue, the neck can be sanded smooth again and refinished.

For the glue-up process, I utilize epoxy to prevent the introduction of water to the joint and to minimize the likelihood of lamination shift.

Roasted woods are more dimensionally stable than non-roasted woods. It does not shrink or swell with the same capacity as it would have before the roasting process. This makes for a great neck material, especially in areas that experience the four seasons.

The primary function of neck reinforcement rods is to enhance the neck's resilience to environmental fluctuations. However, it's essential for the builder to select suitable wood for the neck and ensure it has been adequately dried and acclimated before use. 

The carbon fiber rods I incorporate are chosen for their structural rigidity and their capacity to return to a "zero" position after flexing. Extensive research, experimentation, and findings from various online studies suggest that carbon fiber rods offer approximately ten times more flex resistance than maple of the same dimensions.

• E 0.009" - 16.2lbs
• B 0.0125" - 17.6lbs
• G 0.016"p - 18.1lbs
• D 0.025" - 20.7lbs
• A 0.034" - 21.2lbs
• E 0.048" - 22.4lbs
• B 0.064" - 23lbs

• E 0.0095" - 16.4lbs
• B 0.013" - 17.2lbs
• G 0.017" - 18.6lbs
• D 0.025" - 19.0lbs
• A 0.036" - 20.7lbs
• E 0.050" - 22.3lbs
• B 0.068" - 22.1lbs