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After 100 instruments I can't say that I have been "happy" with any of them-but that's the point.......

There has always been , and will always be something I want to do better or at least different.
This is not to say that my instruments are not "professional" quality at this point-they are, but it's the nature of the beast for me-to always improve.

So, it's like any discipline-playing an instrument, bodybuilding, sculpture, etc. you need to honestly assess your weak points and keep practicing until they become your strong points....
There is no substitute for doing it over and over.It will become second nature

Who the heck is buying all these guitars?? I know very few people that buy or even want custom guitars. I know, I just opened another can of worms. I'm just saying if I built a hundred guitars I would need a bigger house.

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Hutch

Get the heck off the couch and go build a guitar!!!!

I usually only have 1 or 2 finished guitars hanging around my shop

Most of mine went to amature players who are Doctors, Lawyers, etc. Very few "professional" musicians have bought them..

Brad Goodman wrote:
"After 100 instruments I can't say that I have been "happy" with any of them-but that's the point......."

Actually, after finishing my - first - instrument (forty couple years ago) I was very happy with it. It was a simple teardrop shaped dulcimer. It played well and sounded good to my ears, and inspired me to keep building musical things. I understand where Brad is coming from, but still, I am "happy" with the way most of my instruments turn out. Certainly there are things that could be done better, but if they play well and sound good , and are reasonably well put together I am happy enough with them.
I try different things to prove my ideas and to see if they will work, and when the outcome is reasonably good I am happy with that. In some things I am willing accept a lower bar than a professional shop would. I'm building for fun , not profit.
As others have said, as you build more, things will improve and you will develop your own style of building. Each instrument will not necessarily be better than the one before, but you will see an upward trend. But you will have to decide what you want out of this hobby and how to find joy in it. If it is a hobby for you, Relax and enjoy the process,and don't think about being "productive".
In the immortal words of Mr McFerrin "Don't Worry, Be Happy!"

Brad's pretty much on the $$$, and that is exactly where it is these days. In the '90's, there still was a middle class, and most of my mandolins were ordered by local upper end musicians that wanted their ONE good mandolin. After 2000, I could see the market change and restarted building guitars just to supplement the mandolins.

The advent of Eastman and "The Loar" did nothing to help good builders and (as usual) cheapened the products and the market shifted to the amateur Dr/lawyer/banker types that you see today buying handmade instruments. The locals either bought used or Pac Rim.

Professional players were never much in the picture. Nine years of going to IBMA and other festivals convinced me that the "Pro's" were in it to make $$$ off the builders. I never gave any away, but the number of "Pro's" at festivals claiming how much they would "help" me by endorsing my instruments was laughable. Builders would give them an instrument, they would play it for a few months and then sell it for inflated prices. Saw it all the time.

What is the future of handmade instruments? I doubt builders will ever see the '90's again, unless the economy improves, but those of affluence/influence won't let it.

I quit 5 years ago, and handmade instrument prices have fallen ever since except for the favored few builders. Last guitar I sold went for 10K and last mandolin for 15K. If you are a builder doing it as a hobby, find a good brick and mortar retailer, sell on consignment and keep it as a hobby.

Very satisfied where I ended up, but would have liked to have built for a few more years. Glad I got out when I did...

That's pretty sad. I think I'll just try to build models that interest me that I can't afford. I'd like a nice 12 string, a dobro and six string that sounds like a prewar Martin. That isn't much to ask for.

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Hutch

Get the heck off the couch and go build a guitar!!!!

IMO any standard design will produce a fine guitar if it's carefully made of decent materials. The 'traditional' designs have all been pretty well optimized through decades of trial and error by smart and motivated people. Some of the newer designs, such as Gore's, are also well thought out with a particular aim in mind, and can work well from what I've seen.

Guitars are complicated enough that there can be several ways to achieve a given goal. For whatever reason different makers can use different approaches, and end up with designs that differ in small but important ways. Trying to mix and match features from several designs can lead to trouble: you might end up doing two things that were both aimed at the same goal, and incurred the same cost. An example of this would be using a soft, low density top that was worked thin, and then using scalloped braces. All of these things will tend to bring up the bass, and can leave you with a top that is not stiff enough if carried too far. The combination can be a problem. Once you have made a few and have some experience of what each feature does it will be easier to judge. This is why beginners are often encouraged to stick with one proven design.

Well, I hate to make these kinds of statements, (realize they are not very encouraging) but they are true. Anecdotal Olson's and Gilchrist's really don't count if you are on the bottom looking up. I clawed my way up to the 2nd tier with mandolins over 25 years, but when I switched to guitars, I went in a totally different direction, pretty much unknown Larsons and Holzapfels and the almost ridiculed Stellas because they were thought of as Harmony's.
You have the right idea, build what you want. If you build an "extra" once in a while, put it in a brick and mortar. The only other way to do this is basically the AGF way, build what the "elite" want. Unfortunately, that way, you better be perfect in quality in every way, have superlative tone and be prepared to build instruments you would never want to build.

As far as necks, I used to rough carve them and over a period of several weeks, reshape them until they felt "right", or if building for someone, have them over and spend several hours with them shaping the neck. I actually had folks that would fly in to have their necks shaped. Another way was to have them take their favorite instrument to a local builder or repair person and have 2 templates made and sent to me.
Improving tone is a very slow process. I suggest starting with a reliable plan and, ONE instrument at a time, make ONE small change. I never built in batches, because you can't devote your personal attention in FULL to more than one box at a time. For me, I always approached building from the slightly "thick" side as thin instruments may be loud, but sound "thin".

Enjoying the responses. Lots of good stuff


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Atul Gawande (spelling?) said in his book 'Better' : "The best way to learn something is to measure something" If you're trying to make better necks measure necks. If you're trying to get better with fit and finish, get really anal about measuring sizes. If you're trying to improve your sound, measure that. It works.

Good for you for pushing forward. I’m trying to do the same at 25-6 guitars. For necks, as John Hall points out, there are templates available.

For setup? I can’t possibly recommend anything as much as Dave Collins’ and Hesh’s fretting and setup class. I’m sure there are many here who will agree. The class made a huge difference to the playability, and saleability, of my guitars.

And honestly? Some of it is just putting your head down and powering through. Keep doing it. Keep getting better.

And the day you’re completely satisfied is the day you should probably quit.

Good luck

Steve