Summary
Commissioning a handmade guitar can seem more difficult than it really is. Many players assume they need to know every detail before they contact a luthier.
That can mean worrying about back and side woods, top wood, bracing pattern, scale length, nut width, tuning, and every other part of the specification. Those details matter, but they do not all need to be settled at the beginning.
A player does not need to pass a test before starting a conversation with a maker. A few clear ideas, an open mind, and a willingness to talk are usually enough.
The maker’s job is to understand the player, explain what is possible, and guide the specification when the time is right.
Core Idea
You do not need to know every detail before ordering a handmade instrument.
The final specification should come from the player’s needs and the maker’s experience, not from guesswork or anxiety at the beginning of the process.
Why Players Hesitate
Some players hold back from contacting a luthier because they think they are expected to know exactly what they want.
They may feel that a serious player should already know the model, woods, scale length, nut width, bracing, tuning, and every other detail. That is not how a good commission needs to begin.
A player does not have to arrive with a complete technical specification. The maker should understand their own work well enough to give useful guidance.
It is reasonable and senssible to ask the maker’s opinion. That is part of what the maker is there for.
What matters more at the beginning is a rough sense of what the instrument is for. The maker needs to understand how the player plays, where the instrument will be used, and what kind of response or sound the player is hoping for.
From there, the details can be discussed properly.
The First Step Is Usually Simple
The process usually begins when someone finds the work, watches a video, looks at the website, and sends an email.
The first practical step is often a price list. That acts as a useful filter. Many people do not reply after seeing the price, and that is not a problem.
The people who do reply are usually serious. They are in a position to order, to send a deposit and are ready to begin a proper conversation about the instrument.
Starting With A Rough Outline
Early discussion does not need to settle everything.
It may begin with the model, a few thoughts about woods, and the player’s use of the instrument. A maker may ask whether the player works in studios, plays sessions, performs in a band, plays at home, or does some combination of these things.
That information is useful because the best specification depends on real use.
A guitar for one setting may not be the right guitar for another. The point is not to choose impressive details. The point is to make the instrument fit the player.
Why The Warranty Comes Early
After the first discussion, the warranty should be sent before the order is placed for the client to read.
This is not because problems are expected. It is because many clients live a long way from the workshop, including in other parts of the UK, Ireland, America, and elsewhere.
The warranty explains how support works from a distance. It sets out what the client can expect and how the maker deals with the practicalities after the instrument has been delivered.
Once the client has read and accepted how that works, the deposit can be paid.
The Deposit And The Waiting Period
When the deposit is paid, it is subtracted from the final total when the instrument is finished.
From that point, the process becomes partly about patience. A handmade instrument may involve a wait of 12 to 18 months.
That waiting period is not empty time. It is also one reason not to settle the final specification too early.
The maker’s work may develop during that period. New details, refinements, or innovations may appear. The player may also continue playing different instruments, thinking about their needs, and changing their mind about what they like.
Do Not Fix The Final Specification Too Soon
It is often better not to settle the final specification at the start.
A year or more may pass between placing the order and the build slot coming up. During that time, both the maker’s work and the player’s thinking may move on.
When the build slot approaches, it becomes the right time to pin down the details. That is when decisions about model, scale length, nut width, tuning, woods, and other parts of the specification can be made with more clarity.
By then, the discussion is based on a better understanding of what the player wants and what the maker can do.
The Maker’s Job Is To Guide
There will be questions the player cannot answer at first. That is normal.
When a player explains how they play, where they play, and what kind of sound they want from the maker’s work, the maker can offer guidance.
That guidance comes from experience. It comes from seeing what works, what does not work, and what tends to suit different players and musical situations.
The player does not have to know everything before asking. The maker’s experience is part of what the player is paying for.
Practical Conclusion
You may not need a handmade guitar yet if you are still unsure what you want from one.
But you do not need to know every technical detail before making contact. That is the wrong burden to put on yourself.
A good starting point is a clear sense of what you do, what you play, where you play, and what you feel is missing from the instruments you already use.
The specification can come later. It should be shaped by conversation, experience, and the practical needs of the player.
Knowing how to order a handmade instrument is not the player’s job. Understanding how to guide that process is the maker’s job.
Frequently Asked Questions
Do I need to know exactly what guitar I want before contacting a luthier?
No. You need a few clear ideas and a willingness to talk. The maker should be able to help you work out the details.
Should I choose all the woods before placing an order?
No. Wood choice can be discussed later, especially once the maker understands how you play and what you want the instrument to do.
Why should the final specification wait?
Because a long waiting period gives both the player and the maker time. The player’s preferences may become clearer, and the maker’s work may continue to develop.
What does the maker need to know at the beginning?
The maker needs to know how you play, where you play, and what kind of sound or response you are looking for.
Is it normal not to know the answers to technical questions?
Yes. That is part of the reason for working with an experienced maker.
Related Topics
How to Choose the Right Luthier
You might not need a handmade guitar
Are you good enough for a handmade instrument?
About the Maker
Nigel Forster is a luthier making handmade acoustic guitars, mandolins, bouzoukis, and citterns from his workshop in the Gold Coast Hinterland. His work is guided by practical experience, restraint, and the needs of working musicians.