Luthiers John Montelone and Tom Bills

I spent a few days visiting Rome and then took a wonderful drive north through Tuscany with my fiends as we journeyed up to Sarzana. The guitar show was wonderful as well, with great music, talented luthiers, and stunning scenery. One of the highlights for me was spending some time with luthier John Monteleone. We had some quiet time to talk lutherie; exchanging ideas about arching,  aesthetics, and archtop guitar tone while looking over each others guitars, playing some tunes, and having some laughs.
The ancient stone fortress in which the guitar festival is held annually was simply beautiful as well and had such a feeling of  history to it. Being from America it isn’t very often I find myself in any structure that is so old and has seen so much. It is sturdily built atop the green rolling hills with brightly colored hotels and homes dotting the landscape and similar stone fortresses on hilltops in the distance.

The town of Sarzana is simply wonderful, everything I expected and more. Having dinner at an out door restaurant after the guitar show and then walking around the town square, taking in the sights and sounds, and always meeting friendly people. On the first day as we were approaching the entrance to the main street there was a guy playing music just like I used to see in the movies inside of an arched entryway that lead to a narrow, bustling street full of people talking and hurrying about. The houses were painted bright colors and even had people talking from balcony to balcony across the street.

I am still very appreciative to my gracious Italian friends who made the trip possible for me and I am looking forward to the next time I get to visit and attend the show.

Until then, I hope all of you who are attending this year’s event have a wonderful time as I’m sure you will! – Tom

Click to learn more: Sarzana Guitar Festival

I decided to share with you how I did the audio recoding you hear in the video below, in hopes that it might help any of you who are looking for a solution in that area. While I can’t say that my recording is the ultimate masterpiece or anything, I felt it was good enough for me to share how I did it. Maybe it will at least be a starting place for you to improve your system and get an even better sound, then maybe you can share your technique in the comment section at the bottom of this page.

Learn more about the Guitar For Sale in the video

Archtop Guitar For Sale

How To Record Your Guitar

The system I used was very simple and was fairly inexpensive, but before I even begin to talk about the equipment I used to do the recording I should mention a few things about the guitar itself that are far more important.

Starting with a great guitar is obviously a big advantage. If you love the way the guitar sounds naturally then the challenge is simply to capture its voice in the recording in a way that is accurate and true. If you are a luthier that is recording his own guitar, then you have another great advantage. You know the guitars voice on many levels, and you can use this understanding to make sure that it does in fact get captured accurately. It is all too easy to get so involved in the mic, and the recorder, and the playing, that the quality of the guitars voice gets overlooked.

Finding The Best Mic Placement

I start by having someone play the guitar, then slowly walk around the player while listening to the different frequencies present in different locations as it leaves the guitar. Each guitar will be different, so be sure to really listen each time. I usually know right away when I find the spot I like. I tend to like the guitar mic to be about 2 feet from the guitar, but this depends on the room and other variables. If you don’t like the sound of the room, or if you need more signal level, you can move the mic in closer to the guitar too.

Choosing the Right Mic For Your Guitar

Every mic is like a different color in an artists palate. Choose a mic that favors the sound you like and that helps you capture a true picture of what your guitar sounds like. I like ribbon mics like the Royer Labs R-121 Ribbon Microphone,  because they are so warm. My all time favorite mic and still one i hope to own one day is a Neumann U87 . I was able to use these mics and others like them when studying audio recording at Webster University under famed audio engineer Bill Porter (Known for recording Roy Orbison and Elvis ) when I was in College earning my Bachelors of Music degree in Jazz Studies / Audio Technology. Unfortunately in my guitar shop I can’t justify spending that kind of money on my mics, I don’t do enough recording, and the dust factor in here could ruin a high end mic, so I was forced to find a substitute that I could get a satisfactory sound from at a lower cost.

The Blue Yeti USB Mic

After a lot of research, I decided to go with the Blue Microphones Yeti Pro with the Blue Radius Shock Mount (as seen in the video). This is a very inexpensive mic that can be plugged in directly to the USB port of your computer or in my case my Apple iPad 2 . I find this mic to be a little crispy sounding, but for the price, and simplicity of it, I think it sounds really good. It also saves me a ton of money because I don’t need a separate interface to convert the XLR input into a digital signal. Though I should mention that the Blue Yeti Pro mic does have stereo XLR outs that work very well if you have the appropriate equipment to use it with.

Other Equipment

For the recorder I used the iPad 2 and an app called Fire field recorder, which if I remember was only about $5 in the app store. This app is super easy to use and does have a few complex things you can do with it, but for me, I just want to use it as simply as I can and capture only what the guitar actually sounds like in person. (After all I have guitars to build, so I have a super limited amount of time to spend on this stuff.)

One other thing to note is that when using the Blue Yeti or Yeti Pro with the iPad you need to use a Belkin Powered USB Hub and the camera connection kit to run the phantom power. The iPad is not able to power the mic on its own, so the USB hub is the workaround. It does take away from the simplicity of the setup a bit, but overall I still think it is a relatively simple solution for getting a fairly high quality and accurate recording of your guitar.

After I have the track recoded I can adjust my output levels to make sure things are in balance and then export it to Dropbox, and then I’m done. Very simple, and if the mic placement is chosen correctly the results can be very very nice for an ultra simple and inexpensive setup.

If you have any tips on how to record an acoustic guitar, please share them in the comment section below, thanks! – Tom

Tom Bills Custom Guitars, Mel Bay, and Strings By Mail have joined forces to bring you a free giveaway for players and lovers of fine guitars. See below to find out what the winner will receive and how you can enter today.

The Guitar Player Prize Pack Contains:

1 – Autographed Hardcover Coffee Table book,  ” The Creation Of the Natura Elite Archtop Guitar ” by Tom Bills.

1 – $100 Gift Certificate for eBook purchases on MelBay.com , home of Mel Bay Publications.

1 -  $100 Gift Certificate for anything at StringsByMail.com, retailer of instrument and musician’s accessories, sheet music, and strings.

The Giveaway will run from 3/5/12 – 3/28/12.

The Giveaway Is Now Over

Congratulations to our winner Victor T !!!

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Make sure you sign up for my Free eMail Newsletter to stay informed abut my next giveaway.

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Achtop Guitar Book

Carving The Top

Jointing and Preparation

After the wood has been selected, the first step is to very carefully study the wood in order to fully understand its nature and idiosyncrasies. One of the first things I note is the grain and the quarter cut of the top, or in other words, are the darker winter growth lines of the wood oriented perpendicular to the top plane of the guitar? Sometimes there will be a little growth line variation even in master grade tone wood. I spend extra time to correct this as I plane the bottom surface of the two pieces prior to jointing them. By altering the bottom I can usually shift the grain so that both pieces are perfectly quartered. I think even 1˚ of variation can make a difference in the guitar and enable me to have more liberty when graduating and sculpting the arch.

After I’m happy with the grain direction, I carefully joint the halves of the top and back plates. The center joint must be utterly perfect and should require no force at all to tightly close the joint. The clamps simply squeeze out the glue and compensate for any swelling of wood due to the glue’s water content. This insures that the joint will not separate in the future and that any unwanted tension being induced by the glue joint is avoided.

Now that the top is joined, more time is spent making adjustments to the bottom surface with my bench plane to ensure that it is flat and sanded smooth. It’s quiet and peaceful, and it’s my first real acquaintance with the top as a whole. I take note of the many idiosyncrasies the top might have and use this data on an intuitive, as well as intellectual level, to decide how to lay the guitar shape out on the blank when I cut it to its rough dimension.

Sculpting the Arch

After cutting the rough shape of the top, its side edges are marked at the final thickness that I want them to be, and then the carving begins. This is probably one of the most creative and fun parts of making an archtop guitar; it’s also the most labor intensive. However, during this phase I have to be very careful to make sure my body mechanics and technique are correct. Hand carving a guitar top can take a damaging toll on the human body over time if performed incorrectly.

Refining And Tuning The Arch

While I’m carving the top, I’m really following that still small voice inside of me – that leading. Its a thousand decisions that can’t be made with logic. It has to feel and look and sound right. The curve of the top IS the bracing. How it arches, and where it arches, shapes the picture of where the top is stiff, or flexible, and to what degree. In addition to the top arch, the graduation, or “thicknessing,” of the top, as well as the actual tone bars inside the guitar, all work together as a whole to create the guitar’s voice.

Read More From:”The Creation Of the Natura Elite Archtop Guitar“

Part 1: Preface

Part 2: Selecting Tone Woods

Part 4 comming soon! – Subscribe to the Newsletter to get the next edition in your inbox.

You might also be interested in:

• Used Tom Bills Guitar For Sale
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• View the full online Preview
• Buy the Hard or Soft Cover Print Edition

This 2008 Natura Deluxe 16 inch archtop is acoustically richer and louder than most 17 inch archtops and has a warm woody, yet clear sound.  This guitar is also very lightweight and the play-ability is exceptional. It has been lovingly played and cared for and is in excellent condition.

Don’t miss out on this rare opportunity to own this wonderful handmade archtop guitar!

2008 Natura Deluxe 16″ Archtop guitar

Features:

• 25″ scale
• Lower Bought 16″
• Master Grade Aged Sitka Spruce Top
• Master Grade Big Leaf Maple Back and Sides
• Fossil Walrus Ivory Nut, Logo, and Falling leaf Inlays
• Two way Truss Rod
• Double Carbon Fiber Neck Reinforcement
• 1¾” nut width (1-11/32″ optional)
• Flamed Big Leaf Maple Binding on Body and F holes
• Ebony Bound headstock, finger board, pick guard, and tailpiece
• Solid Ebony; Headstock veneer, bridge, Pick-guard, and Tail-piece
• Custom made pickup
• Hand Rubbed French Polish shellac varnish Finish
• Double Reflex Tuning
• Grain-matched, Hand-split Tone Bars
• Tap Tunning
• Hand-graduated Sound Board and Back
• T³ tuning machine holes
• Multi-laminated Head Stock
• Gotoh Antique Gold Delta Series tuners with black Knobs
• High Quality Volume and Tone Controls (under pick guard mount)
• BAM case

This guitar is one of my personal favorite guitars that I have ever created. I have often said that if I could own one of my guitars this would be it. 

To learn more about this guitar, its selling price, please contact me for details.

You can contact me by email, phone @ 314-631-1435 , or even on Skype video.

I will gladly show you this guitar and play it for you via Skype video chat.

If using Skype, email me to get my Skype name.

Last week I had the great pleasure of teaching a Guitar French polishing class which lasted 3 days and covered all the basic, and some advanced areas of French Polishing Such as:

The French polishing technique I use on my guitars which I covered in this class is traditionally based, though I have developed many of my own techniques over the years. The core of this class is built upon what I learned while studying with my teacher and good friend, master luthier and French Polisher; Eugene Clark.

The resulting finish of this technique is a super high gloss coating that doesn’t check and does not compress or limit the voice of the guitar. This natural finish gives the wood a richness, warmth, and depth, that is unmatched. When comparing it to modern finishes many people have described it as; “Like looking at a real diamond compared to a synthetic diamond”

I truly enjoy teaching this because I believe the proper French Polishing technique embodies the core aspects of the art and craft of Lutherie. I encourage anyone interested in building hand made guitars to learn this art of French polishing even if they may not use it on all of their guitars. Understanding the chemistry and finishing process, as well as the physical calisthenic and technique; will aid them in many other areas of their work as it certainly has in mine.

I am currently forming another class, if you are interested in learning more about class options such as: on-line or in-person classes, costs, available spots, topics covered, or other questions, please contact me , I would be happy to talk with you more about it. – Tom

Even though my build list is over 1 year currently for custom orders, I’m writing to let you know about two spec guitars that I have been working on for a while now that are available for sale. They have been in my build list for a couple years and are being made with my other current orders that I’m working on. The guitars are not completed yet, and are in about the same stage of construction with the body assembled and much of the tap tuning and other work completed. Basically they just need a neck and some final touches before they are ready for finishing.

Both guitars are my G2S model steel string guitars with a 12 fret neck, slotted headstock, and elevated fingerboard like the guitar featured in the image above and to the left.

Brazilian Rosewood 12 fret slotted headstock G2S

A stunning Brazilian Rosewood back and sides with a German Spruce top. It has snake wood accents and will have Koa Bindings. It is intended to have a 1.75″ nut and 2.25″ string spacing at the bridge.  I haven’t begun building the neck yet, (though I intend to soon) so it is not to late to customize to your specifications. To inquire about pricing or ask other questions about this wonderful guitar please Contact Me.

Indian Rosewood 12 Fret slotted headstock G2S

Beautiful Indian Rosewood back / sides, and German spruce top with Koa bindings and Lacewood Purflings. This guitar is also set to have the standard 1.75″ nut and 2.25″ string spacing at the saddle, however I haven’t started its neck yet and it could be customized to fit your needs as well. Here is the best part about this one, I’m offering it at a discounted price because it was very slightly damaged while I was building the body and it has been fully repaired. Contact me to find out more.

Images coming soon!

click this link to see more examples of the G2s design: http://tbguitars.com/portfolio/acoustic-guitar-pictures/

For pricing or any other questions please contact me by email  or by phone.

Remember to share this or your favorite part of this website on Twitter and Facebook with the buttons on each page.

Thanks again for supporting my work, I truly appreciate it!

Tom

314-631-1435

Achtop Guitar Book

Selecting Tone Woods

Selecting the right tone woods for a guitar is an intuitive process. I usually go for balance as I intentionally select pieces of wood that have opposite characteristics. I may choose a warm and woody sounding top paired with a back that is harder and more resonant – with more ring to it. This creates a dynamic sort of balance that gives complexity to the finished guitar’s tone and response. Factored into this equation are the final goals of my customer: what sound do they want, what look, what feel? There are no rules; it’s just something you get a sense of in your gut and just “know” when you have the right woods for a certain guitar.

After much discussion, Roberto and I settled on the target sound for this special guitar. It was to be a very dynamic, sensitive acoustic instrument, with a warm, thick, lyrical voice. I chose a warmer sounding top of aged, master grade Sitka Spruce from Alaska, which was light weight and stiff, with perfectly quartered grain. For the back I used a special piece of master grade Big Leaf Maple, with beautiful figuring, that I had been saving for many years. This wood had just the right balance of ring to its tone. Still, it was light weight and with a certain warmth to the notes – which was the key to getting this guitar right. I only have master grade tone woods in my private collection, so the intensity of the flamed Maple figure, grain orientation, stiffness to weight ratios, and other similar criteria are not something I have to worry about. I know for sure that these woods are some of the best tone woods on the planet. With that assurance of quality in mind, I can focus on the finer points of selecting the woods that will produce the warm, responsive acoustic tone we are aiming for.

The bindings and appointments on this guitar are all crafted from jet black ebony, and there’s quite a bit of Paua shell too – over 47 feet of it – which adds brightness to the guitar’s sound due to its high density. With this in mind, I’m keeping my top and back a little more on the warm side, tonally, by my wood choices and building treatment.

Since we do not live in a perfect world, I may often choose a top, and after carving it for several days, discover a flaw. Even if it is minor and wouldn’t be considered a problem in most guitars, I will immediately go back to my wood supply to choose another and carve it. I will do this over and over until I get the perfect top and back for the guitar I’m working on. Oftentimes, I’ll carve several tops and backs for just one guitar, as I did on this guitar before I found what I considered to be the perfect set to accurately bring the vision to life.

Read More From:”The Creation Of the Natura Elite Archtop Guitar“

Part 3 comming soon! – Subscribe to the Newsletter to get the next edition in your inbox.

• Used Tom Bills Guitar For Sale
• Download Full PDF eBook version
• View the full online Preview
• Buy the Hard or Soft Cover Print Edition

To Preview the book in its entirety, Purchase a hard cover or soft cover copy of the book, or Download a free high res PDF eBook version, Click The Button Below:
Achtop Guitar Book

The Creation Of The Natura Elite Archtop Guitar

By Tom Bills

Preface:

A player’s dream……

I believe the art of guitar-making (like many other arts..) is God’s gift given to few.. you are either blessed with it or not. The builder’s personality, emotions, and values flow into the instrument and remain there forever.
Close attention to detail in the building process assures that as time passes the voice of the instrument will grow toward the desired direction….toward that searched sound that can be a companion for life….. a player’s dream.
However, to make all this come true it takes a long time, it takes a lot of dedicated time for the creation of all the components of the instrument and the ability to make them play like in the dream.
After over 30 years of guitar playing and collecting, I found Tom in my search for the perfect archtop, a fine guitar maker in St. Louis. His attention to detail and the gift he is blessed with, make his archtops the most responsive guitars I have ever played, so far. That’s why after purchasing the first archtop named Natura, I decided to have him make me another one according to my specifications, and the result was truly breathtaking.

Therefore Tom, thank you for your creation and your efforts in making my dream come true…it took me a long time but I finally found what I was looking for…

Roberto Pagnotta

The Art of Listening

One of the most important parts of creating a truly great instrument, or any other great work of art, is fighting and winning the battle to get quiet inside oneself. Finding and staying in a place of peace is essential to being able to listen. When we begin to listen, we move from the stress-filled, pressurized responsibility to come up with a solution or direction, to the peaceful and exciting adventure of being part of something larger than ourselves – simply following that leading we hear deep inside. When I’m building a guitar, it’s as if I know someone who already has the perfect instrument in His hands. He is the Master Builder; He cares about me, and wants me to understand its mysteries. These mysteries of the guitar are not hidden from me, but hidden for me to seek out and discover. If I can stay out of the way, keeping my own ego and other motives in check, and assume a posture in my heart of listening and seeking after the truth, I can simply ask Him, and it’s His pleasure to share the answers with me.

This same leading, drew me to guitar making, guides me through the building of each guitar, and has helped me to choose and stay on the path of lutherie that was right for me. I realized that when I work with my simple hand tools I’m forced to trust in the gifts and talents that I have been given, instead of trusting in power tools or jigs. I also have to trust in my ability to stay in that place of quietness so I can hear that leading, and see what to do next on every guitar, because it’s different every time. I must have the quiet to stay sensitive and to force myself into the sometimes uncomfortable situation of relying on my own hands and heart to do the work perfectly – now and every time in the future.

There is another core aspect to my methods and my guitars that, at first glance, may not seem very important to many, but, in my opinion, is crucial to making sure we don’t miss a vital aspect of hand crafting custom guitars.

I have observed that musical notes are containers. When we create a note, we fill it either consciously or unconsciously and then release it in an instant. The listener hears the note, receiving its contents, whether good or bad. The guitar itself is the point of genesis where the idea and thought behind the note gets translated into this physical world, and thus, adds its own fingerprint during translation. Understanding the fact that musical notes and guitars themselves are containers, or vehicles to convey something, helps me stay conscious of what I’m filling those containers with as I’m creating the instrument.

It’s when my heart is filled with care for the customer that my best work is done. I just like people. I can relate, and I care about their situation. I want to make sure their experience with me is about more than just a possession, but maybe even a life changing event, a turning point, at least a point in their life that was positive and uplifting, and of course, resulted in an amazing, unique guitar they can treasure for a lifetime.

Fortunately for me, this approach is a two way street, and my life has been deeply impacted and blessed by many of my customers whom I consider some of my closest and dearest friends. With nearly every guitar I have made, there has been a wonderful connection for which I feel very grateful. Because I truly care about my customers, I want to make sure they have an instrument that embodies the highest level of excellence I am capable of producing. That genuine care goes into the guitar, permeating every atom and stays there.

Up until this guitar, my top of the line handmade archtop guitar model was the Natura Deluxe. However, with the new aesthetic treatments and appointments that we chose for this guitar, I felt that I needed a brand new name to symbolize its ultra high level of quality and style. And so the Natura Elite was born.

Once Roberto and I decided on the heart and vision of the guitar, we were ready to begin the exhilarating and amazing journey of bringing something of true excellence from the intangible realm into the physical world – where we can hold it in our hands, see it with our eyes, and hear it with our ears.

You might also be interested in:

• Archtop Guitar Book Series  Part 2 – Tone Woods
• Subscribe to the Newsletter to get the next edition in your inbox.
• Used Tom Bills Guitar For Sale
• Download Full PDF eBook version
• View the full online Preview
• Buy the Hard or Soft Cover Print Edition

Audio Clip: Impromptu living room recording by Roberto Pagnotta and Enrico Bracco enjoying two Tom Bills Archtop  Guitars.

The Importance of Scale Length

The scale length (or distance measured from the nut to the saddle; the vibrating length of the string) of any musical instrument is probably the most commonly overlooked element of design when engineering the “voice” or “tone” of a guitar. The scale length is responsible for regulating the initial input of vibration energy that is injected into the guitar’s top setting the entire system in motion. Everything after that point can only be filtered or somehow modified, but not added to in any large way. While the myriad of components and other variables of the individual guitar will play a large roll in determining its voice, the scale length will still set the main parameters that the rest of the system will have to work within.

The Effect of Scale Length On Guitar Tone

One of the best illustrations I have heard regarding the critical influence that the scale length has on guitar tone is from Ralph Novax, the father of the modern fan fret resurgence.  He described this in his Fan Fret Technical Lecture as follows:

“The familiar example might be the “Strat vs. Les Paul” comparison: as stock instruments they have distinctly different voices. We could put the Les Paul pickups in the Strat and vice-versa, then take the screws out of the Strat neck and glue it in, and break out the Les Paul neck and screw it back in. Voila! The Strat still maintains much of its clear, cutting quality, although a bit “fatter,” and the Les Paul still has a round attack and mushy bass, although “thinner.” We’ve discovered that the pickups and construction can’t override the tonal effects of scale length. The upper partials present in the harmonic structure of the longer scale Strat string tone give it a cutting clarity that distinguish it from the sweet, round, lower partials that dominate the shorter scale Les Paul string tone.”

Other Factors To Consider

So now that we know the importance of scale length, there are still other factors that we have to think about, which are at play in tandem with the scale length to give the guitar its basic tonal or harmonic envelope. Those factors are: string tension and mass.

Without getting into the mathematics of it (see this link for further reading) the basic premise is that each time we increase the diameter of the string, thus increasing its mass, we also increase the amount of tension required to bring it to pitch. This is why players most often use larger gauge strings for the lower notes of the guitar.  If we used the same high E string for the low E, I’m sure you could imagine, it would not sound too good.  It wouldn’t have enough tension to sound in the overtone series and it also wouldn’t have enough mass to give it any volume. So having more mass (larger diameter) is better for a string tuned to a lower pitch, but we also have to keep in mind that this added mass and tension brings with it two side effects. The first is that the extra mass helps the string get more volume and clarity, but the second side effect is increased stiffness. As the stiffness is increased, the strings ability to divide into complex high frequency nodes decreases.

Understanding The Effects Of String Stiffness

My good friend and mentor luthier Gila Eban, explained something like this to me years ago by using the analogy of a dish cloth. If you start with a regular dish cloth and fold it in half, it’s very easy and folds nicely. Fold it again and it is still OK, continue folding in half again and again and each time it becomes in effect thicker. With that extra thickness its ability to fold gets diminished and requires more energy or simply isn’t possible to fold again. This type of folding is akin to a string as it “folds”, or divides, into smaller and smaller sections that make up the overtone series of the strings fundamental note and give the note its tonal and harmonic character.

The Single Scale Problem

The problem is that we usually have six strings each with a different set of the above mentioned criteria. Using only one scale length causes us to compromise overall. Lets say I decide that for my new customer the best scale length to get the sound he wants for a steel string high E might be 25″, but he also wants to tune down to a dropped D on the low E string. That D will sound floppy and muddy at 25″ (with a standard gauge string). OK, no  problem, lets use a 26″ scale then and the dropped D will be great; but now at 26″ the high E sounds like a banjo and could possibly shatter a wine glass or something with its shrill piercing voice. This is where the fanned fret (multi-scale) type of guitar comes to the rescue.

The Fan Fret Solution

If we use a fanned fret system, we can specifically choose a different scale for each string that perfectly suits our needs and allows us to incorporate all of the necessary criteria we have without compromising on any of the strings. We can get that great mellow treble at 25″ AND that clear powerful bass note at 26″.

“But what about playing the thing…, is it really comfortable to play those fanned fret guitars?”  Yes, it is actually more ergonomic than playing a standard single scale instrument! Look down at your hand and spread your fingers as wide as you can. Do you notice how your fingers are actually fanned out, emanating from a common point? This resembles the angles on a well thought out and implemented fanned fret guitar fingerboard and in most cases requires less of that awkward wrist tweaking we guitar players all hate as we strain to make our “fanned fingers” go in parallel lines perpendicular to the strings like a traditional single scale fingerboard.

OK, don’t get me wrong, I still love my traditional single scale guitars, they are wonderful instruments in their own right and for most people they are the way to go, but for you adventurous thrill seekers who just want to push the limits in harmonic complexity and power on your guitar even further than on your standard guitars, then the fanned fret system is definitely something to consider on your next handmade guitar.

Fanned Fret Nylon String
Fanned Fret Guitar Gallery

If you have any other questions, comments, or other thoughts, leave a comment below or send me an email, I would love to hear from you!