Guitar Show & Custom Luthier Magazine Spring 2019

SPRING 2019

Meet the Luthier...

Ask-A-Luthier

David Anderson

Steve Mason The Dizzaverse Explained: Part-4

Mike Nash

Steve Scovill www.GuitarShowMagazine.com

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Guitar Show & Custom Luthier Magazine

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2019 Spring Issue

Vol. 5 Num. 1

IN THIS ISSUE...

4 Thank you! Thank you! Thank you!

The editor’s comments!

5 The Guitar of Your Dreams

Duane M. Evarts, Editor-in-Chief of Guitar Show Magazine with Paul Reed Smith of PRS Guitars at the 2016 Winter NAMM.

Guest contributing editor, Steve Scovill, shares about a family-run guitar business in Windsor, Colorado.

I’ve lost count of how many time’s I’ve said... “No man knows what a day may bring forth”. Like most people, my journey in life has had its ups, and its share of downs.

6 Ask-A-Luthier

Recently, I scanned dozens of pictures from my Mom’s old photo albums. During that process, memories of growing up with my Mom, Dad, brother and sister were re-lived over and over with each scan. It occurred to me that even though my parents were neither poor nor particularly wealthy, I was blessed with family vacations, parties and many other great times, all for which I am very thankful!

8 Meet the Luthier

Luthier Steve Mason answers your questions.

Like my parents, I’ve never had my ship “come in”, I’ve never “won the lottery”, or received a fortune from some “distant relative”. But I’m still blessed having worked as a recording engineer/producer and getting to know some very talented people; been an on-stage performing musician; made a career as a professional broadcast engineer; organized a few guitar shows and now pursue my passion as an editor/publisher of this magazine.

David Anderson is a luthier located in Loveland, Colorado that builds custom hand-crafted acoustic guitars.

10 The Dizzaverse Explained—Part 4 Mike Nash shares his experiences as a professional luthier.

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The Professional Luthier Directory A list of verified individuals actively involved in the professional art of “lutherie”.

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Upcoming Regional Guitar Shows in the U.S. A list of guitar shows, expos and festivals...many at which you can pick up a hard copy of Guitar Show & Custom Luthier Magazine.

Through all the guitar shows and publishing of the magazine, I have made many new friends and acquaintances. And by your friendship, you have helped make me an even more thankful and blessed person as I continue this journey we all call life.

In closing, I just want to thank all my advertisers, editorial contributors, guitar show vendors and attendees.

Guitar Show & Custom Luthier Magazine is published bi-annually and distributed at regional guitar shows, festivals, expos, by direct mail and at better music-related businesses. The contents of this publication may not be reproduced in whole or in part without prior written permission from the publisher.

Advertising - Promoting your business to guitar-buying enthusiasts is critical to growth. Guitar Show & Custom Luthier is one of the best ways to reach your target audience in a nationally distributed, high-quality, glossy publication. Information about advertising is available online at www.guitarshowmagazine.com

Thank you! Thank you! Thank you!

Until next time…”play skillfully with a loud noise on an instrument of strings.” - Ps 33:3

The views expressed are those of the respective contributors and are not necessarily those of the publisher, editor or staff. All advertising material is subject to publisher’s approval. Guitar Show & Custom Luthier welcomes, but assumes, no responsibility for loss or damage to any and all unsolicited articles, photographs or art. If you would like to be highlighted in a future “Meet The Luthier” article, contact:

Duane M. Evarts, editor@guitarshowmagazine.com WEBSITES / SOCIAL MEDIA: www.guitarshowmagazine.com

editor@guitarshowmagazine.com

www.facebook.com/guitarshowmagazine

Copyright ©2019 by DMEVARTS, LLC - All rights reserved.

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Cover Photo - courtesy of August Guitars.

Spring 2019

Guitar Show & Custom Luthier Magazine

By Steve Scovill - Xentric Guitar Owner/Enthusiast Justin says he gets most of his inspiration from things in the natural world that have been important or interesting at some point in his life, then tries to incorporate those elements in his builds.

Spending a lot of time at the ocean as a child had significant influence on his very first shark guitar.

He has even gone as far as building a bass guitar with a motorized spinning saw blade inside the guitar body. This bass is now owned by Nikki Sixx of “Motley Crue”.

Justin Edwards had never planned on becoming a luthier. He had worked at various manufacturing jobs for years before the combining of talents and trades revealed the line of work that he was destined to do. The defining moment that spawned his first guitar was while working on a sculpture of a great white shark. As he was about to start painting, he picked it up and mockingly played it like an air guitar to some music playing in the background. It felt just like a guitar! So he removed the tail and replaced it with a guitar neck.

Shortly after that sculpting project evolved into what became his first electric guitar, Justin decided to commit to the industry. As far as he was concerned there was no better way to fuse his two greatest passions, “art and music”, than becoming a luthier.

The initial response to that shark guitar project far exceeded anything he could have hoped for. After that, Justin saw the potential for a market where Xentric Guitars new products would thrive. This is when he committed entirely to a career in lutherie and started professional training. To date, he has been consistent at producing about 10 instruments per year.

Xentric Guitars can bring almost any dream guitar design you have to life from family pets to dinosaurs. Each guitar is hand-crafted and finished in their Colorado-based workshop. Justin and his Dad, Dana, work closely with their customers during the original concepts.

They review every detail to ensure a quality build and customer satisfaction. www.GuitarShowMagazine.com

Justin typically has the attitude that anything is possible! If he doesn't know how to do something he learns!. His innovative team has pioneered and perfected manufacturing methods that enable them to offer clients something few other custom guitar builders can... fully functional, custom designed instruments - “at an affordable price".

Xentric Guitars and their accessories fuse functionality with design to produce truly one-of-a-kind products that are as much art as they are instruments.

Justin has created builds for Xristian Simon of “Faster Pussycat”, who plays Xentric guitars exclusively for all his shows. Xentric also recently endorsed Sami Chohfi of the Seattle based band “Blue Helix”.

When Justin is not making guitars, he likes to spend time creating plans for more guitars. He further mentioned, he will never have the time to set all of his ideas in motion. “…Sometimes just drawing or sketching something, whether it be a new design or detailed steps for a new process or tool, can be just as rewarding as building actual instruments”.

Justin and his father Dana, launched Xentric Guitars in 2012 with one goal… to create beautifully manufactured, high-quality instruments that are as unique as the musicians who play them - Steve Scovill

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Xentricguitars.com 5

Ask-A-Luthier Answers to Questions on Stringed Instrument Repair

by Steve Mason

Guitar Finish…the “Thick” and “Thin” of it...

Q: I've looked everywhere and couldn't find an answer to this question; What would happen if you left a guitar totally unfinished? What are the pros (aging and appearance with wear) and the cons (tuning issues etc.) overtime? Thank you for any help with this. - Tom

A: The first thing is that the instrument would turn grey from the goop in your hands. You can see this grey on maple fingerboards where the finish has worn off. I made a mahogany guitar neck with lots of pearl and carving. The body of the guitar was lost in the Mossman fire, in 1975, so I've just used the neck as a demonstrator since then. It was never sprayed with finish, and it is nasty!

I think that where this line of questioning starts is the fact that too thick a finish dulls an instrument's resonance. So, if a thinner finish is better, why not no finish at all? The question is further confused by the fact that the vibrating plates of an instrument are “thicknessed” to account for finish. You can't remove the finish without making the plate thinner than the maker intended. If the plate is, through bad design or incompetent manufacture, too thick, making the tone too bright, removing the finish will make it bassier. You can lower the resonating pitch of a plate by thinning it. The stripped guitars that I have played tend to sound mushy; too much bass, no clear treble.

If the guitar was designed and built to be played without finish it would sound fine.

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The primary function of a finish is cosmetic. Wood is porous and will absorb whatever crap it comes in contact with. Having it absorb a clear, glassy finish, that can lens the beauty of the wood, is a good option. Finish could slow the swelling and shrinking effects of humidity, except that the insides of guitars are not usually finished. The finish will protect the wood from a spilled Coke, unless you spill it inside the guitar. Guitars have pickguards to protect the finish; they have finish to protect the wood. The "pick scratches" are generally made by your fingernails dragging on the top as you play. A top consists of alternating stripes of very hard summer growth and very soft spring growth. Rubbing the bare wood quickly removes the soft wood and leaves ridges of hard. A bare wood guitar would look old quickly but it should last as long as a finished guitar. And, except for the feel of bare wood on the back of the neck, it should play the same. There would be no effect on action, tuning, etc.

The next step in this discussion is oil. Oil finish can leave the wood looking bare while it soaks and protects the wood fibers. A fast drying lacquer that sits on top of the wood allows the wood to vibrate. Oil takes forever to dry and increases the weight of the plate. Violin makers, who prefer oil varnish, tend to seal the wood to keep the oil on top, out of the wood fibers. Some people strip and oil the back of their guitar neck. If they like that feel, fine. You should not do that to the body of an acoustic guitar.

- Steve Mason About the author: For a day job, Steve is a luthier: one who repairs, improves and creates stringed instruments. To make a guitar, he starts with a tree and carves away everything that doesn’t look like a guitar.

He plays fiddle, guitar, bass, mandolin and sings in the Alferd Packer Memorial String Band: alferdpackerband.com.

Steve also maintains a wealth of information of interest to luthiers on his website: ask-a-luthier.com Guitar Show & Custom Luthier Magazine

www.GuitarShowMagazine.com

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Meet the Luthier David Anderson

By Duane M. Evarts David Anderson started playing guitar when he was in high school.

For 40 years he worked as a retail executive. But he also comes from a family of woodworkers! His grandfather was a professional woodworker as was his father. He grew up spending time working with his Dad on various wood working and home improvement projects, which is where he learned how to work with tools and build things with wood - Editor

How did you become involved in the professional art of lutherie?

I learned about the pleasure of building something yourself by working with my Dad. Over the years, he built furniture for our family and friends or remodeled homes that he bought to fix up and resell. I love how wood feels, looks and how strong it can be in the right application. I also love the sound it can produce in a well crafted stringed instrument.

As a woodworker and a guitar player, I always did my own guitar repairs. Often, friends would ask me to work on their instruments; so one thing lead to another. I could never afford the guitars that I really wanted... but... I could build things! So I decided to give it a try.

As with just about everyone, my early work was not what I had hoped for, but I kept on learning, studying, trying to understand what works and what needs to change. Over time, I got better and just kept at it.

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www.augustguitars.com

Where did the name August Guitars come from?

As I mentioned, I was born into a woodworking family. My Grandpa (August) emigrated to this country from Sweden. He was also a professional woodworker. I still have his tool box and many of his tools; although, sadly, some of them are lost to history.

As a luthier, who and what inspires you the most and why?

I am inspired by the great builders of the past, as well as the many current builders. When I hold a 100 year-old instrument in my hands, I feel a sense of connection to the past and those who made it.

Many of the old instruments you come in contact with were not that well made, but they sound great. I find it fascinating to look at what worked, and just as importantly, what failed; and learn from that. Whenever you see someone doing great work, I think it naturally inspires you to achieve higher levels in your own work.

Share a little more about what led you to become a luthier?

I started building and restoring instruments full time in 2012.

Before that, I was working full time, also trying to help my wife raise our two daughters.

I had built a few instruments… some of them being pretty good.

But I was having issues with getting the neck angle consistently correct. I also wanted to understand how to do inlay work

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along with about 6-8 other things as I recall. I contacted John Hall at “Bluescreek Guitars”. He taught guitar building. I sent him a list of the specific things I was having problems with and asked if he could help me. He answered back very quickly and said he could… so we arranged a time for me to fly to Pennsylvania and spend some time with him. It was a transformative time for me! John is an awesome teacher and a really wonderful person.

About how many guitars to you make each year?

I currently build 6-8 instruments a year. It all depends on how much other work comes in. I generally like to build two guitars at a time.

If I get more than that on the bench, I find it can get a little crowded and confusing. That being said, I could probably go faster, but I think that would make it too much like actual work and ruin the fun.

What qualities should a person have to be a professional luthier?

Obviously it helps to have some woodworking skills, but those can be easily learned. I think a high level of curiosity and a constant search for new and improved techniques and skill development is critical. In my opinion, lutherie is kind of like golf… as soon as you think you’ve got it, you hit one into the woods. Someone once told me, “the quality of your work is directly proportional to the number of times you are willing to do something over”. I know that sounds a bit funny, but it’s true!

Guitar Show & Custom Luthier Magazine

Gibson style or round shouldered Dreadnaught, J-185, and Super Jumbo or J-200. Soon, I intend to add my interpretation of the iconic Gibson L-0, and Nick Lucas to the lineup.

You need to be willing to do what is necessary to achieve a high level of fit and finish. Sometimes that means doing something over if it is not your best work.

What do you like to do when not making guitars?

When I am not in the shop, my family likes to enjoy the natural beauty that Colorado has to offer.

Hiking is pretty great around here.

I think you could find a different trail every week and never exhaust the possibilities. We don’t go that much, but we should!

What sets you and/or your guitars apart from other custom-build luthiers and their creations?

As we all know, there are many great builders out there doing fabulous high end work. I strive to make the best guitars I can. I like to build using traditional methods, hand tools, whenever it makes sense, as well as modern technology. In other words, I like to use the techniques available to me that produce the best results structurally and sonically.

Many people in the acoustic guitar community value tradition and history. That’s why I build my own interpretation of some of the most iconic instruments of the past. Currently, I build the following body size guitars: Martin style OOO/OM and Dreadnaught; www.GuitarShowMagazine.com

When someone orders a guitar from me, I generally do not take any money until the guitar is done. Once the guitar is done, and paid for, I deliver or ship it to the client. When it is received, I ask that the owner take three days to play it and get comfortable with it. If for any reason, at the end of the three days, they are not happy with it, or just don’t like it, they can return it, in original condition, and I will refund their money in full. It generally takes me four months, once I get started, to complete a guitar. Throughout the build process, I send weekly pictures of the guitar, so the client has a record of how things are progressing and how the guitar was built. For people that are local, I also invite them to the shop, when we close up the box and as the neck is carved, to feel the profile and make sure they are happy with the dimensions.

I also offer a free six month checkup for any guitar I make. It is not required, but as part of my warranty, I invite customers to bring their guitar back around six months after taking delivery, then leave it with me for a few days.

During that time, I go through the entire instrument making sure that it is aging well, making any necessary adjustments, oiling the fretboard and bridge and installing a new set of strings - free of charge. I realize, for customers that are out of the area, this may not be feasible, but for local players it is useful.

I love working with a client, making them something special and lasting, they will play and enjoy for many years to come.

If you could share just one thing with someone considering the art & craft of lutherie as a profession, what would it be?

You can learn how to build guitars from books and videos; but in my opinion nothing can replace actual hands-on instruction. I would encourage anyone considering lutherie as a profession, to get some professional instruction. I have done both. Lots of good schools out there. Each year, when the opportunity presents itself, I try to take a master class on some aspect of lutherie as a way to continue improving. If you never stop learning, you never stop moving forward. And one more thing… ”For every expert there is an equal and opposite expert”.

There are many ways to achieve great results. Do what works for you!

I met David Anderson at the 2018 Colorado Guitar Show & Custom Luthier Expo.

He had a modest, yet professional, display that called out to me. So I picked up one of his guitars and within seconds I knew that someday I would have to write a “Meet The Luthier” article about David and his “Monstrously huge sounding”, classically iconic-designed guitars.

- Duane M Evarts, Editor

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By Mike Nash, Luthier & Owner of Alien Guitar Factory

We continue now with the construction of a neck-through, 5-string electric bass guitar known as the “Dizzaverse” named after Dan “Dizz” Winks.

With the fretboard now slotted, we decided to glue the piece onto the neck blank. Our first step was to locate the precise placement of the piece on the blank and trace around it for convenience sake. To protect the board during clamping, I cut a quick piece of scrap, about ¼” larger on all sides than the fretboard itself, as a clamping caul.

I find that when clamping ANY piece for gluing, it is highly advisable to plan out the entire procedure first. I gathered the clamps I would need, got all supplies (Glue, etc.) near my bench, and went through the motions “dry” at first, to make sure of every move being fluid, while the glue would be drying.

Next, I needed a way to keep the piece from sliding during the clamping. A simple pair of finish nails would do the trick.

While still dry, I placed the fretboard on the neck, and took my nails, and GENTLY tapped them through the first, and 22nd fret slots. The first nail is placed about ½” from the left edge, and the second about ½” from the right, directly into the fret slots so that the frets will hide the holes later. Note: It’s VERY easy to get a nail slightly too big (shaft diameter) and split the wood. Length isn’t as much of a factor, at least an inch long, but the skinnier, the better.

The nails were only tapped about ¼” into the neck blank below.

I removed the fretboard with the nails still in it, and poking through the underside. For later reference, I drew a circle around the holes I made in the neck blank itself. This way, when I put glue down, I can relocate the holes easily.

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The final step before applying glue is to make sure your clamping caul won’t be interfered with by the finish nails in the fretboard. Lay the scrap on your table, and set the fretboard with nails on it centered. Tap the nails just enough to create your marks, and drill appropriate sized holes in those spots so that your caul will go right over the nails during clamping. As a final preparation, I took a piece of 12” masking tape, and covered my truss rod with it to prevent glue from running into it’s channel.

Finally, the glue was applied to the neck blank, covering every square millimeter of the fretboard’s new home.

Note: To date, I have never used anything but Original Titebond in my builds. Some of the water-proof glues and rubber-based glues out there have a bit of flex in them, which makes them unsuitable for instrument building. Also, most carpenter’s glues are water-based, which you must be careful with. It’s one thing to glue a top to a body, and it’s entirely another thing to make an instrument body out of multiple layers. If you must nearly saturate your wood with the glue, it is advisable to use epoxies instead. Otherwise, moisture damage may occur.

So for our fretboard today, I removed the masking tape from the truss channel, and using the circles I drew to find the holes, I placed the fretboard on the neck and tapped the nails ONLY enough to let the pieces lay flat together. Then with the nails sticking out of the fretboard, I placed the cauls over them with the holes I drilled, and

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began clamping. You can get away with clamps every 8 inches here, but I’m paranoid and generally space them at every4 inches.

Now knowing that dry glue (or wet for that matter) can clog sandpaper, I chose to mitigate the squeeze-out now, rather than letting it dry first. My favorite new trick for removing wet glue from between clamps is a simple plastic fast-food straw. Snipping the end of the straw off at a slight angle will then let me use it in a pokingmanner, shoveling the excess to the inside of the straw as you go. With most any glue-up, carpenter glues can set up in as little as 45 minutes before removing clamps, but overnight is advised, if you have other projects you can work on. Clamps tend to be effective in a cone-shaped pattern of pressure in the spots they occupy.

On a piece of 1” material, a typical clamp will handle an area of about 1½” radius around it. After it was set, and the clamps removed, I saved the caul for later builds and removed the nails from the piece.

In the next article, I’ll discuss fretboard radiusing and body shaping.

Editor - Mike Nash rediscovered an interest he had from his youth, in how electric guitars were made. He decided to become a student of lutherie at Red Rocks Community College. He now builds custom guitars under the name “Alien Guitar Factory” based in Castle Rock, Colorado.

For more information about Mike’s current projects and available instruments, contact him at: alienguitarfactory@gmail.com or look up Alien Guitar Factory on Facebook.

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Get listed in our Professional Luthier Directory! For more info visit: guitarshowmagazine.com/advertisers.html

ARIZONA Lund Guitars Chandler, AZ lundguitars.com CALIFORNIA California Guitars Belmont, CA Calguitars.com

CONNECTICUT Stol Guitars Guilford, CT Stolguitars.com Occhineri Guitars Bloomfield, CT Occhineriguitars.com

Dart Instruments Philo, CA Luthier.com

FLORIDA D Guitars Miami, LLC North Miami Beach, FL Dguitarsandlutherie.vpweb.com

Elite Custom Guitars Cameron Park, CA elitecustomguitars.com

Glen Perry Guitars Miami, FL Glenperryguitars.com

Koentopp Guitars Hawthorne, CA koentoppguitars.com

Lowe Custom Guitars Oldsmar, FL lowecustomguitars.com

Luttrell Guitarworks Petaluma , CA facebook.com/luttrellguitarworks

R&M Guitars, LLC Ocala, FL rmguitars.com

COLORADO Alan Dunwell Guitars Nederland, CO dunwellguitar.com Alien Guitar Factory Castle Rock, CO Find us on Facebook Blindworm Guitars Colorado Springs, CO blindwormguitars.com Castle Creek Guitars Gunninson, CO Castlecreekguitars.com Conery Guitars Boulder, CO coneryguitars.com Del Toro Guitars Denver, CO deltoroguitars.com Guitar Repair Doc Franktown, CO guitarrepairdoc.com Highlands Ranch Guitar Repair Highlands Ranch, CO Highlandsranchguitarrepair.com

Sam’s Quality Guitar Repair Ocala, FL Find us on Facebook

MASSACHUSETTS Guitar Doctor Whitman, MA guitardoctor.com

Federated Music Guitar Repair Springfield, MO federatedmusic.com

OREGON Pheo Guitars Portland, OR pheoguitars.com

Franklin Guitar Company Rocheport, MO franklinguitarcompany.com MJT Aged Guitar Finishes Carthage, MO mjtagedfinishes.com

GEORGIA Baruke Guitars Gainesville, GA barukeguitars.com

NEW HAMPSHIRE King Blossom Guitars Grantham, NH kingblossomguitars.com

IDAHO Tonedevil Guitars Sandpoint, ID tonedevilharpguitars.com

NEW MEXICO Keith Coleman Luthier Albuquerque, NM keithcolemanluthier.com

INDIANA RockRabbit Guitars Valparaiso, IN rockrabbitguitars.com IOWA AM Guitar Works Davenport, IA amguitarworks.com

Xentric Guitars Windsor, CO xentricguitars.com

Tree Guitarworks Des Moines, IA Treeguitarworks.com

Longbow Guitars Rio Rancho, NM Find on Facebook NEVADA Vegas Guitars Custom Shop Las Vegas, NV vegasguitars.com Galaxy Guitar Products USA Las Vegas, NV galaxyguitar.com NEW YORK The Guitar Specialist, Inc. Goldens Bridge, NY Guitarspecialist.com

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VIRGINIA Hawkins Guitar Virginia Beach, VA hawkinsguitar.com J. Calkin Guitars Greenville, VA jcalkinguitars.net

OHIO McKnight Guitars Morrel, OH mcknightguitars.com Rhinehart Guitars Athens Ohio Fishguitar.com

MINNESOTA Tim Reede Custom Guitars Minneapolis, MN reedeguitars.com

ILLINOIS Vibrance Guitars Danville, IL vibranceguitars.com

NEW YORK (cont.)

H.F. Eibert Stringed Instruments Syracuse, NY Find us on Facebook

MISSOURI DJP Guitars St Louis, MO djpguitars.com

Virgil Guitars Tampa, FL virgilguitars.com

Victor Guitar Denver, CO VictorGuitar.com

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KANSAS Steve Mason Luthiers Lawrence, KS ask-a-luthier.com

WASHINGTON Bright Guitars Bellingham, WA brightguitars.com Stehr Guitars, LLC Spokane, WA stehrguitars.com J. Thayer Guitars Bremerton, WA jthayerguitars.com

PENNSYLVANIA Beardly Customs Washington, PA facebook.com/BeardlyCustoms/

Stuart Keith Guitars Nine Mile Falls, WA stuartkeithguitars.com

Bucks County Folk Music Shop New Britain, PA buckscountyfolkmusic.com

WEST VIRGINIA Agape Guitars Morgantown, WV agapeguitars.com

Naugler Guitars Green Lane, PA nauglerguitars.com RHODE ISLAND Holcomb Guitars Providence, RI holcombguitars.com TEXAS David Newton Guitars Beaumont, TX davidnewtonguitars .squarespace.com/

WISCONSIN Petros Guitars Kaukauna, WI petrosguitars.com CANADA MacPherson Guitars Penticton, British Columbia macphersonguitars.com

Shaw Handcrafted Guitars Waco, TX shawguitars.com UTAH Joe’s Guitars Sandy, UT joesguitars.com KSM Guitars Logan, UT ksmguitars.com Steve Fischer Guitars Cedar City, UT stevefischerguitars.com

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Saturday, February 16, 2019 Grand Rapids, MI - West Michigan Musicians Swap Meet https://www.facebook.com/westmichiganmusicianswap

Friday/Saturday, April 12-13, 2019 Saratoga Springs, NY - Capital Region Guitar Show http://saratogaguitar.com/guitarshow/

Sunday, February 17, 2019 Bayville, NJ - Jersey Shore Guitar & Amplifier Show http://jerseyshoreguitarandamplifiershow.com/

Sunday, April 14, 2019 Danville, IN - Indiana Guitar Show Find us on Facebook

Saturday, Sunday, February 23-24, 2019 San Antonio, TX - Alamo City Guitar Bazaar https://alamocityguitarbazaar.com/

Sunday, April 14, 2019 Milwaukie, OR - Oregon Guitar Expo https://www.oregonguitarexpo.com/

Friday, Saturday, Sunday, March 1-3, 2019 Waxahachie, TX - Waxahachie Guitar Show https://instrumentshow.com/

Saturday/Sunday, April 27-28, 2019 Freeport, NY - New York Guitar Show & Exposition http://www.nyguitarexpo.com/

Sunday, March 3, 2019 Hillside, IL - Chicago Vintage Guitar Expo (847) 931-0707 or e-mail: Bakesguitar@aol.com

Saturday/Sunday, April 27-28, 2019 Tacoma, WA - Tacoma Guitar Festival http://www.tacomaguitarfestival.com/

Saturday, March 23, 2019 Parma, OH - Northeast Ohio Guitar Show http://lpsound.com/musicNEO.html

Saturday/Sunday, April 27-28, 2019 Waltham, MA - Boston Amp, Guitar & Pedal Show Find us on Facebook

Sunday, March 24, 2019 Cincinnati, OH - Cincinnati Guitar Show http://cincyguitarshow.com/

Sunday, May 5, 2019 Catlettsburg, KY - Eastern Kentucky Guitar Show Find us on Facebook

Sunday, March 24, 2019 North Dartmouth, MA - South Coast Guitar Show https://sixstringmusiccompany.com/

Friday, May 31 - June 2, 2019 Lewisville, TX - Lewisville Gear Swap http://metroguitarshows.com

Saturday, March 30, 2019 San Luis Obispo - Central Coast Guitar Show http://unfinished-business.org/guitarshow.html

Sunday, June 23, 2019 Hilliard, OH - Summer Ohio Guitar Show http://www.ohioguitarshow.com/

Sunday, March 31, 2019 Lansing, MI - Lansing Musical Instrument Swap https://www.musicinstrumentswap.com/

Saturday, June 29, 2019 Parker, CO - Colorado Guitar Show & Custom Luthier Expo http://guitarshowmagazine.com/coloradoexpo.html

Sunday, April 7, 2019 Wallingford, CT - Northeast Guitar Expo https://northeastguitarexpo.com/

Friday, August 9-11, 2019 Copper Mountain, CO - Guitar Town https://copperguitartown.com/

For more information about any of these and other upcoming shows visit: www.guitarshowmagazine.com Not all events listed are distribution partners of Guitar Show & Custom Luthier Magazine. Thank you to all the event organizers that do share this magazine with their attendees and other guitar enthusiasts across the nation!

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