Frequently Asked Questions

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One of our objectives was to take advantage of the flat headstocks strong flow of grain, minimal environmental impact, and significant labour reduction. Often times using this design method, a string tree would be needed to create enough break angle at the nut. We found that with slightly more drop off behind the nut than your typical fender while recessing the tuners and using short posts will allow us to get proper break angle.

When designing my guitars, I found the first practical step is deciding which string gauges to use, in what tuning, for what scale length, and at what tension. These 4 crucial variables have an effect on obtaining a clear, responsive note but also serve as a foundation when developing our Nut, Heel, and Proportional Spacing dimensions. I've found using a progressive tension string set, in which the tension gradually increases from high string to low string, allows for articulate bottom end, a pronounced middle, and a buttery smooth high end. Using our known gauges we can then develop our Nut and Heel width accordingly. Typically 3mm of fretboard over-hang at the nut, and 4mm of over-hang at the 24th fret to allow for the wider timbre of the string, on either side of the string. 10.6mm Spacing at the bridge and ~6.2mm proportionally(Side to Side) at the nut.

Proportional spacing at the bridge is available as an upgrade using ABM solo bridges.

Our guitars are designed with an extra tenon that hangs off the end of the heel. Much like a set-neck this tenon fits into a mortise that runs underneath the neck pickup. Since our necks are not glued in place, this tenon acts as a positive stop for neck slippage due to the heavy amount of tension from the strings over the years. A by-product of this construction method is the slightly increased sustain of a set-neck guitar, with the snappy tone of a bolt on we all love.

When bolting together we use Threaded Brass Inserts and Machine Screws. We found this superior to your traditional wood screw, and also allows for easy removal of the neck should you need to. 

Primarily using hand rubbed monocoat oil finish. We start by sanding the guitar to a minimum of 320 on the "flats" and 600 on End Grain as it tends to soak up more finish and become darker and uneven in colour. This higher grit closes off more of the pores allowing less finish to flow in.

After the guitars are inspected and free of scratches, defects, and other unwanted surface imperfections, the guitar is given a generous coat of a 2 part, Hard Wax Oil+Catalyst. This Hard Wax Oil Finish is a blend of oils and waxes that do not build up layers on the wood but rather absorb into the wood to seal and protect it. This allows the wood to keep a very natural finished surface without obscuring the touch and visibility of the grain.

We allow this first coat to really absorb into the pores of the wood, followed by carefully buffing all of the excess off. After 2 days of hang drying we come back, scuff it up and give it a second coat. After a few days the oil is fully cured, and inert. At this point we can give it a grain fill, and repeat the coating process one final time before leaving it to hang for another week. We use this same process for both the neck and body.

After a week has passed, and the oil has cured, we continue the finishing process on the neck with a coat of finishing paste wax, and readily available tung oil for the fretboard.

The body is followed up with a 2 part Ceramic Coat, consisting of 2 base coats at a 9h hardness, and a top coat at 7h hardness. The top coat is softer than the base coat and the reasoning behind that is the base coat is where the majority of this added durability comes from. The Top coat on the other hand is going to act as a malleable layer over top that will protect the base coat. 

We primarily source our pickups from BareKnuckle Pickups in the UK. We feel that the tone and clarity is unmatched, and their attention to detail runs parallel to our beliefs. If you had a different tone in mind, or would like to supply your own, please feel free to reach out.

Each guitar control layout is customizable. We use a 1vol, 1tone, 3 way toggle, configuration as our standard. 

Push-pulls, DTDP switches, and kill switches are all available.

We are located in Hamilton, Ontario, Canada.

We ship World-Wide, fully set up and ready to play in a Gator Case to keep your guitar safe from damage.

Pricing is simple. Parts & Materials + Labour. A detailed invoice will be provided upon payment.

We accept payments from all major credit companies, PayPal, Cash, or Crypto(Ethereum or LoopRing)

Yes! With an initial non refundable deposit of 30% to get started, 30% before finish, and the remaining 40% prior to shipping. You will be contacted and invoiced at each milestone.

If you have another payment schedule you'd like to discuss do not hesitate to ask! 

• C#1 0.0105
• F#1 - 0.085w
• B1 - 0.064w
• E2 - 0.048w
• A2 - 0.034w
• D3 - 0.024w
• G3 - 0.016p (F#3 - 0.017p, 6 String)
• B3 - 0.0125p
• E4 - 0.009

• F#1 - 0.090w
• B1 - 0.068w
• E2 - 0.050w
• A2 - 0.038w
• D3 - 0.026w
• G3 - 0.017p 
• B3 - 0.0125p
• E4 - 0.009

• C#1 - 0.105W
• F#1 - 0.085w
• B1 - 0.064w
• E1 - 0.048w
• A2 - 0.036w
• D3 - 0.026w
• G3 - 0.017p (F#3 - 0.018p, 6 String)
• B3 - 0.013p
• E4 - 0.0095p

Scale Lengths:

• 6 String - 27" to 25.75"
• 7 String - 27" to 25.5"
• 8 String - 27.26" to 25.5"
• 9 String - 27.6" to 25.5

The basic premise of neck reinforcement rods is to make the neck more resilient to environmental changes. This does not negate the responsibility of the builder to choose appropriate wood for the neck, and that it has been properly dried and acclimated before using. The carbon fibre rods we use were carefully selected for their structural rigidity, and its ability to return back to a "zero" position after being flexed. Through resources, experiments and various studies found online, it is said to have around 10x more flex resistance than maple in the same dimensions.

Roasted woods are more dimensionally stable than non-roasted woods. It does not shrink or swell with the same capacity as it would have before the roasting process. This makes for a great neck material, especially in areas that experience the four seasons.

All of of our necks are at a minimum 3 piece laminations, and always in the quarter sawn orientation. This provides a much more rigid and stable neck compared to, say flat sawn, one piece or both. We've found that the more laminations, the more compressed the sound. Over a long time these laminations are often subject to whats called "Lamination Shift", as the various species react to environmental changes differently and move at different rates. This can be remedied by sanding the neck smooth again, and refinishing. 

Our neck profile has come a long way from a standard C, or D shape. Using Bezier Curves, we've created a comfortable, elliptical shape at the nut. As you venture down the neck towards the bridge this shape casually morphs itself, offset to the bass side, allowing a more comfortable and smooth transition between playing positions.