Welcome!

"The World Of Acoustic Guitar Making Is Waiting Just For You!"

Lets go!

Our Blog Is All About The Student And The Guitar!

I am inviting all students (as well as myself) to write to this blog so that YOU can see what is going on in the workshop!

TLG Students:

Please write up a blog (of your experience at TLG and how your guitar sounds, what timbers you used etc) then send it to us at blog@thomaslloydguitars.com with your pics (try to save pics as small to medium size).

If you are savvy enough just call me with your email address and I will put you on the authors list and you can do it yourself. (It does not take long).

I am happy to show links to your own website, blog, forum site etc if you have already done so, on your Guitar Making Journey.

How to use this site:

It is easy. A blog is an article of information with pics, title and comments area. You can navigate around by just scrolling down the page or clicking on the "Archive" menu to the right of the screen. You can leave "comments" for each blog, or email "a friend" about the blog by clicking on the envelope icon, even post your own blog.

We have a survey that may change monthly if you wish to fill it out.

Pictures can be enlarged just by clicking on them!
Save the Link: (Check it Monthly)
Please save this link: http://tlgupdate.blogspot.com/ in your favourites and check regularly to see what the students and I are up to.
I will try to send you a reminder when we update monthly.
We have lots to tell you this month.
All contact regarding this site goes to: blog@thomaslloydguitars.com
Thank you and Enjoy the Show!

Thomas Lloyd Guitars "Beyond The Trees" Acoustic Guitar Exhibition

An Australian world first collection of over 60 Australian tonewood acoustic guitars displayed and presented by Chris Wynne and his guitar building students on the beautiful grounds of Montsalvat, August 2012.

Beyond The Trees Exhibition and Concert was a lively weekend with talks on the building of acoustic guitars, the lineage of time and makers throughout the guitar building industry, explaining the original makers styles and themes and culminating it all into a display of recently built 100% Australian Tonewood acoustic guitars.
Thomas Lloyd Guitars School Of Acoustic Guitar Building are celebrating their 10th year of teaching students the fine art of custom building. Many of the student that displayed their guitars over the weekend are building from their home workshops and starting their own custom built business.
Chris Wynne says "We live in Australia - why would we not use the resources that we have available to us. The tonewoods are comparable to all other European tonewood and in most cases created quite a unique sound"
The weekend closed with a dazzling array of classical and acoustic players presenting for the first time these Australian Tonewood Guitars.
Peter Boyd, Daniel Nistico, Antony Field, Dan McKay and Jenny Biddle.

See our Beyond the Trees Exhibition Video

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Build a guitar in beautiful northern Tuscany | MusicRadar.com

Build a guitar in beautiful northern Tuscany | MusicRadar.com

Introduction, my time at Thomas Lloyd guitars

In 2004 I was riding in Healesville when I passed a small sign on the road which announced an open day for guitar makers so did a u turn and braved the long dirt track to the studio on my Hyabusa. That was the first time I had met Chris and although the day was not for new comers, he welcomed me and showed me some of the guitars that were in progress, and a finished classical which looked amazing and sounded awesome. I was hooked and signed up on the spot.

Over the next 2 years I made a classical guitar out of rosewood and cedar with millennium bracing and a mahogany neck, and an acoustic guitar out of sassafras and spruce, with a Queensland maple neck. Both guitars look and sound great and are still going strong. My daughter (Madeleine Mei) won’t play anything else on stage, and the acoustic sounds amazing on her CD with no effects or equalizing.

When I started the first course, Chris had just moved the entire guitar school to Montsalvat so I missed out on the ride to lovely Healesville, but the artist colony had it’s attractions too. Our studio was on the top of the old woodworkers shop in the attic and Chris had built benches against two of the four walls (one wall was about 2 feet high as the roof sloped down on that side). The room could take three students at a squeeze but the lack of room never seemed to be a problem, and Chris despite dividing himself into many parts for us, was always ready with a cup of coffee when he saw our need! The drum sander, drop saw and drill press were all down stairs and the tap for wetting the sides in the garden which was also the men’s room...

Lunch break at 1pm was kept religiously and was a good time to talk about our experiences and share our knowledge of the guitar and other things in our lives.

That year was divided into Saturdays. The rest of the week was just in the way and all I could think of was how my guitar was going to look the following week. Chris never took a holiday so long weekends were there for us to enjoy extra time with him.

The first guitar was completed and it was better than I ever could have dreamed it would be. I signed on for another year!

Since that time I have been making guitars in my own home. At first in the carport in Ringwood which posed many problems, one of which Chris mentions in his video and whenever I watch this segment it’s as if he is talking to me! On one of my first guitars I glued the back on in the morning before work (around 5am) and by the time I got home in the evening it was in about 3 pieces! The back had split into two, and the sides had pulled clean off the top. I then bought a hygrometer and found that the humidity varied from around 90% in the morning to 35% in the afternoon.

We have moved house 7 times in the last ten years and so I have left several studios behind me, each one better than the previous one. We now live on the Redcliffe Peninsula Queensland and I occupy the lower half of the house. I still have problems with humidity in the summer but with air-conditioning and dehumidifiers, and religiously checking my hygrometer during the day, I have not had any disasters (yet).

My main interest these days is in classical guitars, and I have regressed to methods used by Torres 200 years ago. Consequently all my guitars are made in the Spanish method using a Solera, although I have gone back to the dovetail several times, especially for a Fleta classical as that was the method he used.

I am also interested in Bass guitars as I am a bass player, but also because of the freedom of expression it allows me. It’s a lot of fun experimenting with design concepts and wood combinations, and I feel like a sculptor when carving the instrument. It’s also a challenge to fit the bass to a customer and since there are no rules, can be designed from the ground up. Whenever I am making a custom guitar (bass or acoustic) I take the time to draw up a complete set of plans illustrating the shape, size, pickup positions and machine head fitting to a headstock and from all angles. This prevents mistakes happening later in the construction when alterations can be difficult or even impossible.

At the moment we are in Nepal, and each year we spend 5-6 months here working in an orphanage amongst other things. I have set up a studio in one of the buildings and have started teaching a Tibetan orphan to make guitars. It’s been a slow process, but it is happening and we are committed to make it succeed as there are no guitar makers here, and it is an opportunity for this boy to make a living out of it. Our first 3 guitars were made from local plywood and they turned out surprisingly well. We are now resawing rosewood for the backs and sides and a local pine for the tops. These we’ll put aside to dry for next years work.

Italy 2011 - Acoustic Guitar Making

Italy Acoustic Guitar Making Course in Benabbio, Lucca Italy was a tremendous success in 2011!
16 Students all finishing stunning Australian Tonewood guitars, ranging from Parlour, 000, Dreadnought and Small Bodied guitars (Our CA Model).

We also had 2 women complete the course. Maggie Howard made a parlour guitar from Tasmanian Blackwood and Huon Pine soundboard and Fiona Brownlee made a classical from Tasmanian Tiger Myrtle. We will be posting more pictures on our website and Flicker account in the coming weeks.

Chris Wynne and Team!

Mun and Daughter Build 2 Australian Tonewood Classical Guitars

He is a link to a great photographic journey of Carollyn and Kia who custom built 2 beautiful Classical guitars using Tasmanian Blackheart Sassafras and Bunya Pine soundboard  and Tasmanian Blackwood and King William Pine Soundboard.

http://makingmyguitar.blogspot.com

Enjoy!

My Classical Guitar - Australian King William Pine

It was time to upgrade my guitar and after a visit with overseas family to Montsalvat, where we met Chris and saw some students having fun building their own instruments, the decision was made instantly.

That was going to be my next project.

I had to wait until Chris came back from his annual pilgrimage to Italy and used my time to study his website and followed a number of links to familiarize myself with the idea of building a guitar and the possible timber combinations.

On the first day Chris and I talked about guitars and timbers and really all combinations are interesting. I wanted to make a classical guitar with the best sound possible for an amateur made product.


We settled initially on blackwood sides and back, Queensland maple neck with Mulga fingerbord and Bunya pine soundbord.

After our sixth working day and had just glued the top on, it became obvious that I had done something not quite right and the result could not be altered easy.
The top was not glued on properly !

That’s where my appreciation of Chris’ ideas took really shape. I was allowed to start all over again . Chris donated the timbers and I had to spend some more days at Montsalvat, which is not at all a punishment. I loved the atmosphere there.

I also developed a taste for Tim Tam Biscuits - Chris's Favourite.

This time we went for King Billy Pine in lieu of Bunya pine for the soundboard. Chris really felt sorry for me and found somewhere a priceless piece of King Billy.
Making all the parts again showed me that experience comes with repetition and the result felt a lot better straight away.

The end result was a remarkably sweet sounding guitar with heaps of sustain. Playing the guitar at home I found one spot where some light buzzing took place and because I made this instrument myself and understand now how it all works, I decided to remake another bridge piece, slightly higher on one side only and the buzzing was gone. In the mean time I changed the strings to high-tension strings, which improved the harmony and nice clear brassy high tones.

It is amazing how different this guitar sounds in comparison with my original quality high mid range guitar.
Needless to say that I am looking forward everyday studying music and I honestly have not touched my old guitar as yet.

I have photos of the building process,  King William Pine Acoustic Guitar via this link.


Student 2009 - Ted van Vugt

Luthiers Course - My East Indian Rosewood, Classical Guitar

My Experience at the Thomas Lloyd School of Guitar Making.
A Testimonial by Will Hancock.

"When I saw the ad in the paper, it spoke directly to me!"

When I took the mission out there for a chat with Chris it was sealed. But when I chose to embark on the Thomas Lloyd Guitars Luthiers Course the times they were a changing and the fun was about to begin. Tim Tams and tea were the flavour and a pile of book-matched deep, chocolately, rich, dark East Indian Rosewood was placed on the bench.

We were off and running. With the back on the mould Chris showed how to join the neck and heel blocks to the freshly bent sides. Then, to work on the back. Braces were shaped at a frustratingly slow pace as I began to learn the Thomas Lloyd way.

Patience was the lesson of the day and one that I would come to know fatefully well in the weeks to come. After fitting the braces we fitted the back to the sides. Lo and behold, it was beginning to look like a guitar! Now for the soundboard and the precise hole cutting, followed by a rather tumultuous fitting of a badly warped rosette. A rosette that Chris chose deliberately to get the most out of the lesson. Braces were carved with the chisel and as the curls of supple timber peeled away from the chiselhead, I realised that a life long love had been remembered deep within.

We fitted the top to the back and the soundbox was nearly done. Finally, after months of agonising wait the neck was started and a billet of smooth, crimson buttery Mahogany was my lump of clay. Handsawing the headpiece joint at the precise angle was a milestone and Mr. Wynne ensured it all ran well.

After finishing the neck blank, my first taste of Macassar Ebony showed itself and I took on another expensive addiction. I thought records could chew up your paycheck quickly but this stuff was gold. Swirls of light, milky, chocolate brown swam in a sea of dark ebony and the contrasting textures are amazing.

The custom made fretcutter made a tricky job easily accurate and into the dovetail, another milestone on the road to string instrument heaven. Clicked the neck into the body and she was beginning to look like a sexy guitar. Set the neck and fretboard, carved the from the smoothest, creamy mahogany and then tackled the cap, made from the same black ebony as the ‘butterfly bridge’. A tricky job but the assistance of Chris gave many hands light work and after weeks of worry, she was a setup job away from deflowering.

Setting her up, I reflected on the journey. From the newspaper ad to now. Not a journey, an evolution of consciousness and understanding at a cellular level. Strumming her for the first time was like watching a homebirth. Breathing life into something that was once innate. She cried a little, whimpered and has been singing sweetly since as her voice becomes more of its own.

And so began my Australian Tonewood habit. Now instead of going down to the pub, I’ll go to the hardware. Instead of record shopping its making a mess on the coffee table. And if I can pull myself together long enough to get the sawdust out of my eyes it’s a trip out to Eltham to catch up with Chris and enjoy a Tim Tam, a quiet chat at T.L.G.

Theres a fretless bass on the shelf and a trip to Italy awaiting.

Thanks mate, you rock.

Will Hancock - Student 2007

Female Luthiers At Thomas Lloyd Guitars

Timber, Band Saws, Chisels, Power Tools & Glue!

Lots of Chocolate, Lots of Patience, Tea Breaks, In-depth discussions & Long lunches!

 Women that have gone on to make beautiful Australian Acoustic Guitars!

Crazy Headstock

Great Time, Great Place, Beautiful People at Thomas Lloyd Guitars - School Of Acoustic Guitar Making!

Thanks Chris Wynne,

Summer Student - Sam Digiglio 2008

Sassafras Design

It was a long wait between enroling and starting the 10 day intensive acoustic guitar making course.

When I walked into the Thomas Lloyd Guitar workshop my first instinct was to duck - otherwise I would have been unconscious before I made it to the workbench. Yes, the roof is low. The building is National Trust listed and was used as a stable in the 1930's...and perhaps the large white statue of a horse above the machine shop is a reminder of that past. Luckily, the stable was extended and the workshop opens up into an airy light filled space - only those under 5' 8" are relegated to the low roofed area by the door.

Suffering a bad cold (it was the middle of winter) Chris introduced me to the other students and to the machines. I originally had an idea that I would make my guitar from Tasmanian Fiddleback Blackwood and that was my intention right up until Chris showed me another build in progress utilising Blackheart Sassafras.

I was interested in having a look at it...still thinking the blackwood will be my choice. He then dealt me a bunch of sassafras to have a look through. The sassafras just spoke to me. The figure on the sides meanders like a river and gave a sense of the geography from whence it came.

While the back left me the impression that I had the very heart of the tree. Somehow I forgot about the blackwood, the cold virus and the low roof (ouch).

I wasn't sure that I could finish a guitar in the time allotted and especially from the pace that Chris set. Everything seemed to go very slowly...plenty of tea breaks and a long lunch (something I am not used to in my usual day job). All the techniques for making the guitar were very simple and I was surprised and how easy it was for a guitar to come together so quickly.

However, there are some parts of the build that require experience and guidance...both of which Chris has in spades. And sometimes even a mistake can become a surprise innovation (just as I was finishing my rosette it cut loose and span out - I took a chunk out of it which made it impossible to align with the grain of the soundboard -hence my rosette is at a 45 degree angle to the grain of the soundboard). Although when it counted Chris was there to ensure the best outcome.

As I settled into the relaxed pace I also found time to craft a timber string winder. This little project seemed to cause Chris to smile a lot but I wasn't sure why (and hence my comment on the soundboard on the wall -"stop bloody smiling").

One of my favourite aspects of the build included the shaping of the neck - where I sat on the bench outside the workshop and moulded the Queensland Maple into something that resembled a musical instrument.

When I was deciding on the veneer of the headstock Chris said he had something to show me... a crazy piece of sassafras ....here was the piece that would make a statement. "If you use this you will be in the running for the head stock of year award" said Chris.

I was really unsure what to do for the headstock but as soon as I saw the piece Chris had in mind the sigmoidal design immediately sprung to mind...I mirrored that shape on the fret board over the sound hole.

After we strung the guitar we had a play and there was a bit of buzzing...back to the workbench...add a sliver of wood to the bridge...try again...this time no buzzing...hey, that sounds pretty good...gees, that sounds extremely good...hey Chris, can I play my own guitar?

So what did I get out of the course? Not only did I learn some new skills at the Thomas Lloyd Guitars school I found that the stresses and worries of the work world were forgotten. I can honestly say that I have never been so relaxed. I have found something that can take me out of the hustle and bustle and give me that perfect wave...where you are at one with what you are doing and the extraneous world melts away.

I now have a new guitar, a more relaxed attitude, a timber string winder...and a small bump on the top of my head. I'm still waiting for my headstock-of-the-year award though!

Thanks Chris Wynne - the guitar sounds great!

Grant - Student 2008

Italy 2008 - Acoustic Guitar Making Course

10 Individual Australian Timber Acoustic Guitars all handcrafted in Umbria, Italy in May 2008!

What a wonderful experience. In the Umbrian hills, early morning pheasant and local cuckoo bird calls, mists lifting gently over the landscape as the spring wheat crops start to burst to life.

We arrived in mid April in time to watch the transition from Winter into Spring...local crops varied from broad beans, wheat, canola and cattle feeds. Umbria is a farming region, where still today the whole family is involved in the farming process. Even by hand they plough the smaller fields and sow their seasonal crop. Trees are all trimmed down at the start of spring to get the maximum use of wood for their household fires for the coming winter.

The Villas stand out in the landscape, showing an importance to the land mass for farming and the efficiency of living in one home. The villas are all quite large, housing on average, 6-10 rooms including room for some stock during winter and store rooms for equipment on the ground floor.

Our villa dates back about 200 years, and has been used over a period of years for the encouragement and studies of various art forms. Tony our Italian/Australian over has run art classes in printing and canvas works, and other occupants have held yoga classes, used the villa as a recording studio, and held various painting classes.

Now he is very pleased to have hosted "The Thomas Lloyd Guitars School of Acoustic Guitar Making".

10 students from all over Australia spent 2 weeks each handcrafting their acoustic guitars.

Christine, Ted, Bob, Tim and Lindsay then Alan, Ian, Richard, Marcus and Mark.

They all worked hard on completing an individual look. We completed 2 x 12 Stings, 2 x Cutaways, and the rest were various acoustic sized guitars all using Australian Tonewoods.

We got to know the local pizza restaurant, supermarket and Internet cafe owners. The Italian lifestyle is at a very casual pace, apart from their driving! They open their shops early about 7.30am and close 12.30pm then open again 4.30pm and close late. Some of our students took time in the early morning, before class, to visit the local cafe/bar to get a coffee, fresh made pastries and try out their Italian on the locals.

The Italians love their coffee. It took a while for us to understand that a cafe latte is only hot milk. A macchiato latte is our version of a cafe latte! Latte means milk.

The first two weeks in Pietrafitta were busy getting the workshop up and running. We had plenty of space with a machine room, and a large student workshop. We found the Italian version of Bunnings Warehouse - OBI Hardware stores. They are just as large and just as good. We found everything that we needed right down to sanding papers.

We took several fun filled trips to the store, as most Italians don't speak English and we don't speak Italian....we had to constantly ask in our very basic Italian do you speak Inglese? (English). Only one guy in the store spoke good English so we reverted to grabbing the catalogue and pointing to the products... then there was the question of do you have 50, 100 or 5 boxes of these!

At one stage the girl on the checkout could do nothing but smile at us as we had visited about 6 times and with no real language skills we could do nothing but smile...she had the great task of counting loads of clamps and bits and pieces... the only thing we understood her to say was "Is that on the credit card? In Italian of course! She was often amazed at the volumes we bought and am sure wondering what we were up to... so we started handing out our business cards and all became quite clear just by one picture of an Aussie Guitar Maker standing at this workbench.

Once the workshop benches, and machine room were set up I got into making a guitar before the students came. A small bodied acoustic - Back and Sides - Walnut, Soundboard - King Billy Pine, Neck - Queensland Red Cedar, Fretboard - Mulga. (pic on its way soon!)

A couple of nights during the week we would go to our favourite pizza restaurant and indulge in the local cuisine. Usually about 9 of us. We hired a large van so we could all get about to do local food shopping and see some of the tourist sites on the last weekend of the course.

The students worked from about 8am to 6pm most nights, and at the end of the day all come together to have an Italian Feast.

The final nights of the course, once guitars were oiled, dried and strung, we had a relaxed jamm session of blues, folk and various well known tunes. The students all had varying degrees of playing ability so for those that could not crank out a full tune one of the other students obligingly would play their guitar.

I would like to thank all the students and their partners for making the first year in Umbria a memorable experience. A lot of laughs bellowed out through the workshop doors and over the hills of Umbria. A time well spent.

Want to join us on our Next Tour  Thomas Lloyd Guitars Italy Acoustic Guitar Making, Lucca Italy

October Poll Results!

Here are the Results of Last Months Poll:

What Would You Like To Hear About From The School of Guitar Making?

Timber and Acoustics - 24
Tools and Equipment - 13
Bracing Patterns - 14
Guitar Finishes -15
Guitar Repairs - 15
Student Guitars - 9

Well then you are in Luck. I am currently working with some of my past students on Timber acoustics specialising in the Australian Timbers.

I will write up a blog in the coming weeks, as well as responses to your other interests!

Thanks again for the feeback. I will do what I can to keep you informed!

Working With Wood Show 2007

This years Working with Wood show was a great success!





The Neck Shaping and How to Bend Sides Demo's were very popular.





We had Lindsay, Steve and Will help out this year. (past students) They all have a passion for guitars and timber! Thanks guys for your help :-)





We had one lucky guy from Perth, WA win the Enrolment to the course for next year.


The promotion of the NEW "How to make an Acoustic Guitar" DVD is hotting up! Lots of folk were excited to hear about the DVD and heaps of enquiries as to the content and Price range! Most just wanted to see the final product (so do I).



The idea of tinkering away on a guitar over the coming months in their own workshops seems to be a dream come true for them!




Thanks to all of you who dropped by to say hello and check out some of the students latest works!




Its great to be involved in such an exciting industry.

My Big Blonde & A Bear Claw Acoustic Guitar!

"Just a quick note to Thank you again for a Wonderful Experience and my Fabulous New Guitars!

"Big Blonde & My Bear Claw"

Every time I pick her up and play her it just blows me away. Not only is it very pretty it has a sound that goes straight to your toes.

Again it was an Adventure! Nothing is too much for you!

During this "make" I threw a number of curve balls at you and you hit all of them... Hurah!

Big Blonde is crafted from:

Top - Sitka Spruce
Bindings - Tasmanian Blackwood with Fiddleback
Inlays - Paua Abalone and Mother of Pearl
Back, sides, neck, bridge and fretboard - Flamed (quilted) Rock Maple
For the technical minded it is tuned 2½ tones down to B.

'Big Blonde' is Teaghlach Number 002. The guitar is based on the Gibson Jumbo style and has been setup as a 'Baritone'.

I ringraziamenti ancora e li vedeno in Umbria (Thanks again and see you in Umbria!)

Check out my website! Thomas Lloyd Guitars Student Blogs - Ian Mulgrew

Just click around and on the pics to move through the site... This website is meant to be on the humorous side in respect to the great fun that we had making our guitars with Chris!


Ian Mulgrew - Student (Twice) - 2006 /07

Timber and Wood Show - October 2007!

Stand No: 158
Come and See Us at The Show!

You could WIN Enrolment to Our Guitar Making Course!
Valued at $3,850 (New Price 2008)

At the Melbourne Exhibition Centre:

Fri 12th Oct 2007 - 10am - 5pm
Sat 13th Oct 2007 - 10am - 5pm
Sun 14th Oct 2007 - 10am - 5pm

We are offering ONE enrolment to our Guitar Making Course.... just come and see us.... fill out an entry form... and you'll be notified on the Monday when you WIN....

http://www.workingwithwood.com.au/melbourne/index.htm

Demonstrations will be held on Guitar Making Daily:

1st Demo (each day - Fri Sat Sun)

11.30am to 12.30 noon on "What Timbers to Select & Why? & Side Bending" (Apx 1hr)

2nd Demo (each day - Fri Sat Sun)

3.00pm to 4.00 pm on "How to Shape The Neck of a Guitar" (Apx 1hr)

Keep us in your diary and I look forward to seeing you there!

Thomas Lloyd Guitars Student BBQ Day's

40 Beautiful Australian Acoustic Guitars

The students & families have a great day. Lots of comparing and conversations on what timbers they selected and why, their experiences throughout the course, and most importantly how the guitar is sounding NOW!

Students had the opportunity to listen to some of the guitars being played. Each guitar giving its own individual tone and resonance, and the students actually getting to hear the difference, possibly the first time, between the timbers.

Thankyou to all the students & families who attend each year.

We have Thomas Lloyd Guitars Student Video Testimonial 

If you live locally you can always drop by our workshop!

Custom Made Vs Manufactured

Last month we had a Poll on our Blog.

Our question was what type of guitar do you play?

Results were:
Classical : 13
Dreadnought: 26
Bass: 1
Other (flamenco etc): 2
One I made at TLG School: 12

Our Blog site is exclusive to our email community and our students.

Over 700 people receive our updates!

Obviously not everyone will respond - but as you can see on average, there are more Dreadnought players out there than Classical!

Most of the students that come through the school make a Dreadnought.... or variations on the 000, 00, Martin, Bass and Dreadnought Styles.

Our course enrollments are about 80% Dreadnoughts & Variations and 20% Classicals.

The interest in the course this year has been tremendous! Even Maton Guitars are noticing how much demand there is for acoustic guitars.

China has started importing loads of Cheap end ($500 price range guitars) for beginners and kids interested in playing....

Most people when first buying a guitar are unaware of what they require:
Acoustic requirements
Timbers choices
Volume
Playability etc

A cheap guitar is a good start for basic cord practice but after a while you won't get a good ear for the sound of the cords, which eventually could be come a disability with your playing or you may form a lack of interest in your playing, as you are unable to get a great sound out of your guitar!

When purchasing a guitar you have either a choice of Manufactured or Custom Built.

Price range tends to be a priority in the purchase - which could inhibit your playing ability!

Manufactured Guitars are just that! Manufactured.

You and every other purchaser of that model will get the same, sound, resonance, volume and playability. (Due to the machines that make the guitars)
The manufactures have taken all the hard work out of knowing what you need supplied quite simply in each model and price range.

There are some Excellent manufactured guitars on the market - Martin, Gibson, Taylor, Maton etc...

Custom Built Guitars are just that! Custom Built.

Your purchase of a custom built guitar will be at a different end of the price range. You will receive a better varied sound to the guitar type you order, the soundboard and bracing pattern will be suited according to you requirements of sound, volume and resonance.

Even if a maker has 3 guitars made from the same timbers - They Will All Sound Different!

Each piece of timber is being hand sanded, hand selected, & maybe not even be from the same tree. A maker will produce what he/she feels is the best that they can extract from the timbers to help you find a guitar that matches your playability and requirements.

You can purchase direct from a maker or from Retail Stores.

Each maker has a certain style in which they make: hence Custom Built!

Many variables occur during custom building a guitar.

At Thomas Lloyd Guitars - "The School of Acoustic Guitar Making" you get to :

Select from various timbers that we have already hand selected from timber yards as High Grade timbers
Choose your guitar shape you wish to make
Match your requirements for playing with timber choices
Design, shape and finish your guitar the way you want
Sand the top to the thickness that you require for greater resonance
Hand sign or even design your own personal label for your guitar!

Note:

You may not be a player or even know what you want in a guitar.

That's what we are there for!

We will guide you to making a great sounding guitar that you will call your Own!

There may be 3 students all using the same timber as a soundboard but they will all sound
slightly different depending on the way YOU have made your guitar and of course the tree!

The choice to make a custom built guitar is not about price.... its about the Experience of a Lifetime in handcrafting your own instrument...

The one great joy of running the school is watching the faces on my students when they take their first strum, the other great joy is sharing this experience with YOU!