The Design Process- Drawing/Discussion/Understanding Using transparent "trash paper" to determine conceptual form and woods. (Note: color is for schematic purposes only and does not depict final finish colors.) These drawings are not-to-scale, but are proportional. Once a schematic design sketch is chosen, full-size design development drawings are created to help me fully understand the layout of electronics and hardware, look for unforeseen problems, and explore solutions to various construction weaknesses. Because these drawings are made for my understanding, these may appear to you as not fully developed- remember these are for my understanding. When I am satisfied that I understand the limitations, restraints, and constraints of the proposed design, I will convey the information to you and create full-size layout and router templates for the instrument's construction. These layout templates, when super-imposed on the selected wood, provide an understanding of wood grain at various points on the instrument. For example, I construct neck-thru-body laminations so that grain runs 1/4 sawn to the fingerboard and flip-matched to counter axial torque. This creates a more rigid neck assembly. Also, a particular grain pattern may lend itself to a body sculpting attribute in the finished instrument. "Caterpillar" - The Alice Series, on page GUITARS 1, has a sort of sunburst grain pattern eminating from the bridge and across the instrument's top face and through the Ebony inlay. Body sculpting and neck profiles are completed to enhance the ergonomic fit between you and the instrument. One common example is shaving the neck profile to render a comfortable to play guitar. This is much easier to do if you can come to my shop during this stage of the instruments development. When the instrument is finished, you will receive written instructions or diagrams of the electronics and how these operate. Also, you will receive manufacturer's warranties for electronics components, care for the instruments finish, and my warranty for workmanship. I know you will be pleased with your custom instrument; its playability, esthetics, and knowing it is unique to you. I look forward to working with you to create the instrument of your dreams.	Custom Instruments-An Overview The design process starts when you contact me to arrange a consultation. During the consultation, we will discuss our project and develop a conceptual overview for your proposed guitar. We begin the design consultation for your custom instrument by assessing the music you play and your technique, as well as, your esthetic considerations. The assessment is an important aspect of the design process. It provides a critical schematic overview of what must be blended into the design of your instrument. One instrument cannot do all things. Your custom instrument must make it easier for you to play, deliver your best sound, and enhance your stage persona. As our discussions continue, we will move into the design development stage for your proposed instrument and, in detail, determine materials and hardware specifications. At this time, I will make sketches, draft details, perhaps use 2-D or 3-D modeling with AutoCAD if the design warrants such, and complete sketches, drawings, and written specifications ("Construction Documents") of the proposed instrument for your authorization. Your custom instrument will be built based on our pre-determined design/build specifications and accompanying drawings; a direct result of working with you to build the instrument you envision while working within the limitations of fabrication to create a quality instrument. Upon completion of the specification/build worksheet I will provide an estimated project cost breakdown of materials, hardware, and labor necessary to complete the project. At that time, you shall authorize construction of your custom guitar. I will order the required materials and hardware. Contruction will commence when I receive all components. At that time you will be in the design/build line and I will provide you an expected date of completion. Throughout the construction process, I will keep you informed of progress and perhaps, from time to time, ask you many questions. You may have several questions yourself and may have changes. It is going to be your instrument, I welcome your involvement throughout the build. After construction begins, changes will be made by "Change Order" authorized by you. I may also ask you to come to the shop as the project nears completion so you can, for example, "feel" the neck or see finish samples, etc., which will allow for final adjustments in neck profile and finish. I will not ship completed guitars without a case or gig bag. Throughout the construction process, I take great care to create the flawless piece I want you to receive. Cases and gig bags are additional to the cost of the instrument. Shipping will be within 5 days of cleared final payment.
Guitar Specification Worksheet Upon completion, this becomes part of the "Contract Documents" and describes in written detail from what your custom instrument will be constructed and its various attributes as to electronics, hardware, and finishes.	Conceptualizing Your Custom Instrument Volumes have been written about the various combinations of woods and materials that comprise musical instruments. Most stringed instruments are made from less than three of six woods speciies, as these yield the most versatile overall tones. Less commonly used species can direct the tone to a selected tonal range and, when used in conjunction with commonly used species, provide a custom voicing to the instrument. Wood selection is important not simply for esthetic reasons; for example, ebony, rosewood, and maple fingerboards on the same instrument design, give somewhat different tones. Various pickup and wiring configurations also change the voicing of the the instrument. The same pickups mounted in similar instruments constructed of diffent woods will also give somewhat different tones. As we develop your instrument's design concept, tone woods and electronics are, therefore, critical considerations. Aside from your technique, these combinations create your sound- the essence and reason for building your custom instrument. Aside from traditional solid-body electric and acoustic guitar forms (shapes), extraordinary designs may present construction/fabrication challenges for which I can work a solution within our established design parameters.
Using CAD to Develop violin headstock layout In this case, a non-convential electric violin, the headstock will be next to the chin rest. The layout is tight, string pulls are to be straight, and the instrument must balance.	Left- Selected neck, body, and fingerboard wood has been squared for rough shaping. Right- Neck-thru-body laminations are ready for gluing.
Left- Neck-thru-body lamination is glued and clamped. Right- Jointed neck-thru-body blank ready for neck taper and truss-rod slotting.	Left- Headstock is shaped and drill for machines. Right- Truss-rod slot is completed and top surface flatness is checked to receivfe fingerboard.
Left- Slotting Ebony fingerboard on table saw. Right- Fingerboard is glued to tapered neck blank.	Left- Body blanks, neck blank, and fingerboard ready for joining. (Note: This photo is out of order.) Right- Body blanks glued to neck-thru-body. (Note: Fingerboard is complete at this time.)
Final shaping and sanding. Body, control, and pickup cavities, control and switch holes, coverplate holes, string ferrules sockets, strap button holes, and other hardware holes are complete. Body contours are shapes and hardware is test fitted.	The completed instrument; nine coats of tung oil were applied to the Walnut prior to assembly, setup, and final check. Note the mother-of-pearl "Vicki" inlay at the end of the Ebony fingerboard.