What is it about the bespoke process that takes people out of their comfort zone?
We build quite differently, our philosophies, construction techniques and combination of materials are not the norm, and I think when people are working with us it will challenge their perception of what an instrument is. I have always challenged that; I don’t have a finite idea or a preconceived idea of what an instrument should be and I still don’t, it is constantly developing, improving and evolving as my understanding becomes more in depth.
I think that’s maybe a thing with the bespoke service that when you really try to boil down into what someone is looking for you are ultimately asking them to change their perception of what it is that they look for in a guitar or the sound that they hear or how the sound production of an instrument actually happens and the materials that go together at the end might not be what they thought it was.
I think that is definitely the biggest challenge: to get people to really stop and go back to the beginning. It’s the hardest part for clients, but the more they do that the greater the outcome.
What are the depths of specific customisations or requests that you receive?
Every clients wants something specific ergonomically i.e. neck profiles, string spacing, scale lengths etc thats absolutely no problem, I always accommodate this.
People come to me because they are drawn to the sound and aesthetics of my instruments. I’m often asked to incorporate specific elements, for example, do a personalised shellfish inlay up the fingerboard and if that is what the client really is after then we can discuss that. I’m totally open minded, I’m always very interested to hear ideas about detailing. A lot of clients are very excited about the hot sand fade, the coloured detailing and the use of different types of wood in the detailing. These aesthetics have all come from past builds thus I’m excited to see whats next and how together we can push the boundaries!