Instrument Type:
Generally, the instruments we build fall into one of three categories - guitars, basses and baritones. Baritones are essentially long-scale guitars useful for low tunings. In most cases, the specifications of an instrument will dictate the category under which the instrument would fall. I include this field, however, just to clear up any possible confusion that may result. The "Other" option is included for instruments that don't fall within one of these categories, such as a double-neck guitar/tenor bass.
Number Of Strings:
Most guitars have six or twelve strings, although the seven string option is increasingly popular. Traditional basses have four strings. Five string basses usually add either a low "B" string, and a six string bass adds both low and high "B" strings. It is possible to have a five string bass with a high "B" string instead of a low one, just make this comment in the "special notes" section.
Another much less common option is the eight string bass. This is a four string bass with each string adding an additional string tuned an octave higher, similar to the way a twelve string guitar works.
Scale Length:
The scale length is roughly the distance between the point where the strings pass over the nut and the point where the strings pass over the bridge saddles. It has a large impact on the sound and feel of an instrument. There is no "perfect" scale length; when designing an instrument, the scale length is selected to achieve particular qualities for the particular instrument. Guitar scale lengths are usually between 24" and 26". Bass scale lengths generally stay between 30" to 35". Baritones are usually somewhere between the two.
Shorter scale lengths (less than 25" in guitars and 32" in basses) usually give a warmer tone and provide for easier playing, especially when string bending. Longer scale lengths (greater than 25" in guitars and 34" basses) usually give more note definition and increased sustain.
Because of the greater string tension with longer scale lengths they are often used on instruments that will have low-tuned strings, such as a guitar in dropped-tuning, a baritone or a five-string bass.
These are generalities, and the scale length is just one factor in the sound and playability of a musical instrument. It is not possible to say that a guitar with a shorter scale will not have good sustain, or that one with a longer scale can't have a warm tone. Given two instruments completely identical except for the scale length, the above described differences in sound and playing characteristics will usually be noticed.
If you're unsure of what scale length to select, your best bet is to play a few guitars with different scale lengths and see what you like. Here's a list of some of the more popular scale lengths used by different manufacturers:
Instrument |
Scale |
Fender Jaguar™ |
24" |
Gibson Les Paul™ |
24 3/4" |
Paul Reed Smith |
25" |
Fender Stratocaster™/Telecaster™ |
25 1/2" |
Hofner "Beatle Bass" |
30" |
Fender Jazz Bass™ |
34" |
Neck To Body Join:
There are three traditional methods of joining a neck to a guitar/bass body. There are proponents of each type, all waving their respective banner that their method of preference is superior. In our opinion, if properly constructed all three are good choices structurally and tonally. Some people claim to hear differences between the types, and while this may be possible, it does not mean that one type sounds "good" and another sounds "bad". It all comes down to individual preference.
Set Neck: At the end of the neck a "tenon" is cut which is fit into a corresponding "pocket" on the body. Glue is added to this join and the neck and body are then glued together permanently. Properly constructed, the neck will never shift or move in the pocket. This type of join can give a very unobtrusive "heel" that many musicians prefer for the increased access to the upper frets.
Bolt-On: This constructed similar to the set neck, although rather than cutting a tenon, the neck pocket is usually enlarged to the size of the end of the neck. Instead of glue, screws are installed from the back of the body to hold the neck in place. This gives a larger "heel" than the other methods, as enough body has to be left behind the neck to support the screws. One big advantage to a bolt-on instrument is that if the neck ever gets damaged, it is possible to have a new neck made and installed rather than having to repair the damage or scrap the entire instrument.
Neck-Through: This method of construction utilizes an extra-long neck blank. The neck actually extends all the way through to the end of the body. Additional "wings" are glued on to each side from which the remainder of the body is cut. Some purists say that this gives the best sustain to an instrument, and allows for the least obtrusive neck heel. It does give a nice decorative effect, especially when using intricate neck laminations, as the neck wood is visible through both sides of the body. This style of neck join can be a little trickier to build, so there is often a slightly greater cost associated with neck-through guitars.
Finish Sheen:
This option dictates how shiny a guitar will be once completed.
Traditional Gloss: The traditional gloss option gives a finish that is very shiny. Most guitars have this type of finish, although some people note that the finish feels "sticky" where their hands don't glide as smoothly over the surface of the instrument, especially the back of the neck after sweating. These finishes give good durability, however if they are damaged they can be difficult to repair without leaving evidence. Note that this is the only finish option available if a opaque (solid) color is desired.
Semi-Gloss: We are proud to offer a semi-gloss oil finish option. We use a product called "Tru-Oil" that was produced for gun stocks but works very well on instruments. The finish is shiny, but not glossy. This oil finish is very, very thin which gives the instrument a natural, "woody" feel, rather than the "plastic like" feel that some other finishes give. Because of how thin the finish is, it is not quite as durable as other finishes, however repairs are simple and nearly invisible.
Satin:For those who don't like the glitz, we offer a subtle, classy satin finish. This finish has a great "feel", and is tough-as-nails. Damaged satin finishes can usually be repaired with little evidence.
Finish Color:
This option specifies the "type" of color for the instrument.
Clear Only: No coloring is added to the finish to allow the beauty of the wood to show through. This finish is not recommended for poplar and alder, which generally are not "pretty" woods.
Translucent: The finish has color, but is transparent to let the wood grain show through. Specify the desired color in the "Special Comments" section.
Opaque: Solid color; no wood grain will show through. The recommended finish for poplar and alder guitars. Specify the desired color in the "Special Comments" section.
Shape:
We do not have a select limited number of shapes from which you can pick; we can make nearly any shaped instrument you want. If it's a shape we've already used, simply enter the description of the instrument from our gallery. If you can describe the shape, just enter a description of what the shape looks like. If you have a drawing or photo of a shape, enter a URL where we can view a picture of the instrument, or e-mail us the picture. Note that for original designs, we may have to modify the shape slightly to accommodate the conversion to an actual instrument.
Body Wood:
We can make your instrument body out of nearly any wood you want. The quote form lists some of our favorites, but you can specify something different if that's what tickles your fancy. Different woods do have a different tonal effect on the instrument, and a quick search of the 'net will yield lots of information and opinions on what different wood species sound like, so I'm not going to get into it here.
This field will identify the primary wood from which the body will be made. If a top cap of a different wood is desired, you can specify that in the next section. If you want a wood that's not listed, or something fancy like multiple layers, select "other" and enter the wood type in the "special notes" section.
Top Cap Wood:
Placing a top cap on the instrument body cut from a different species of wood as the rest of the body can add a tonal nuance, as well as a decorative touch. There are many, many different woods that can be added as an instrument top. If adding a top cap, it is recommended to have a clear or translucent finish selected, so as not to hide the beauty of the wood.
We can also do a matching rear cap, if desired. Just add it to the "special notes" section.
Please note that on one piece bodies (no top cap) that are rear-routed, we cannot offer the control cavity cover where the control cavity cover is cut from the body piece so the grain is a perfect match. We can still do a wood control cavity cover, if desired, but the grain won't line up perfectly the way it does with a two-piece body. The control cavity cover does not have to be the same species; some people like a wood cover made out of an alternate species. If not otherwise specified, on one piece bodies the control cavity cover will be plastic.
Body Thickness:
Electric guitars/bass bodies are typically around 1 3/4" thick. Deviating from this standard size is usually done for weight reasons, to make a lighter or heavier instrument. There is also a slight difference in "feel" with thinner instruments feeling sleeker and thicker instruments feeling "chunkier." The measurement for this size is taken from the thickest point of the instrument body. On a carved-top instrument, this will make the edges of the instrument approximately 1/4" thinner than the middle of the instrument (i.e. a 2" thick carved-top guitar would be about 1 3/4" wide at it's edge.)
Body Type:
There are three primary body types for electric instruments:
Solid: This is the most common style, where the body is made from a solid blank of wood. Wood is removed for pickup and control cavities, but all other wood is left intact.
Chambered: This option is similar to a solid body guitar, but spaces of wood (chambers) are removed from within the body. Unlike a hollow-bodied guitar, however, there are no openings from the chambered spaces to the outside; the chambers are completely sealed within the instrument. The primary reason for doing this is to reduce the weight of the instrument. There are also subtle tonal reasons for doing this, with most people noting that a chambered body seems to sound a bit "warmer". Note that to have a chambered body, a top cap must be added to the instrument. If a single species body is desired, the top cap can be cut from the body wood, then glued back in place after the body is chambered. This retains much of the look of a solid body, but there is a slight glue line where the top cap was removed.
Hollow: With a hollow-body guitar, much of the wood on inside of the body is removed. Holes (called "F" holes) are cut in the top of the instrument through to this hollow space to allow air to move freely in and out of the body. This creates a significantly lighter instrument, along with a very different sound from a solid-body guitars. Hollow body guitars tend to feed back much sooner than solid-body guitars, but this can be used to their advantage.
Carved Top:
The tops of electric guitars and bass bodies are usually flat. If desired, an instrument can alternately have a "carved top" where the body is thicker in the middle than at the edges. The transition between the thicknesses is carved away so the change is gradual across the face of the instrument. Violins are a good example of a carved-top instrument. Carved tops can enhance the beauty of figured or exotic wood, so they are most often seen on instruments sporting top caps cut from these fancy woods.
It is also possible (although not very common) to have a carved back on an instrument. We aim to build the instrument that you want, so if this is your desire just make mention of it in the "special notes" section.
Please note that if a carved top is selected as an option, the pickup mounting selection must be "rear routed". Pickguards need flat surfaces on which to mount, so for this reason this option isn't available for carved tops.
Top And Bottom Edges:
Edges of instruments usually do not just have the wood cut off square. This would create a sharp edge that would make playing uncomfortable, as well as look unattractive. In addition, a sharp unprotected edge such as this would dent and chip easily. Most guitars have their edges treated using one of these methods:
Bound Edge: If a square edge is desired, having a bound edge is the best option. When an edge is bound, a channel (called a rabbet, or rebate for our friends overseas) is cut around the edge of the instrument. A piece (or pieces) of plastic or other material is then glued into this rabbet. This provides a decorative, protective edge to the instrument. It is also effective at hiding the glue line when a top cap is glued to the face of an instrument body.
1/8" Round Over: For an unbound edge that is as close to square as desirable, a 1/8" radius round over would be a good choice. This is a very subtle round over; just enough to help protect the finish on the edge from chipping and to remove the "sharpness". This is not a very common option, but it is available.
1/4" Round Over: This is the most common edge option and is found on many guitars. The edges are rounded over at a 1/4" radius (which would be like a quartered slice of a 1/2" wide pie.) This provides a nice looking edge treatment, that is smooth enough to be comfortable. Fender Telecasters have a 1/4" round over on their edges.
1/2" Round Over: For the ultimate in comfort, a 1/2" radius round over is the way to go. This wide radius gives a very comfortable, contoured edge that makes the guitar look quite "round". Fender Stratocasters™ have a 1/2" round over on their edges.
Chamferred: This is a less common option, but is seen occasionally. Instead of rounding over the edge of the instrument, it is cut at a straight angle from the top to the side. It gives a very distinctive, unique look.
Binding:
If the edge type for the top or bottom is set to "bound", this is the field where you designate the color(s) of binding to use. The white/black/white and black/white/black options designate three layer bindings with two outside colors and a contrasting inside color. Additional multiple binding combinations are available as well, just specify the desired combination in the "special notes" category.
Cheese-Belly Cutout:
Also known as a comfort contour, or a beer-belly cutout. I quit drinking back in 1990 but I do have a belly, so it must be from cheese. Therefore our cutouts are called "cheese belly" cutouts. This option makes the guitar more comfortable to play by removing a curved area of the upper back of the body. This causes the guitar to angle back towards the player slightly. This option is not available with a completely bound back; if binding on the back of the guitar is desired along with a cheese-belly cutout, there will be no binding in the contour area.
Forearm Contour (Drop Top):
This option is a slanted area at the top front of the body where the player's forearm rests. It can make a guitar or bass much more comfortable to play, especially when coupled with a cheese belly cutout. If the body has a top cap wood, the contour will cut through the top wood into the back, making the back wood visible from the front in this area. Also, this option is best not used with a bound body, as the binding will end at either end of the forearm contour.
Top Horn Access Contour:
For players who frequently use the upper frets on a guitar or bass, a top horn access contour can provide better access to the high frets. This creates a shallow, V-shaped cutaway on the lower half of the body front, between the neck and the top horn. If a bound body is desired, the binding will stop in this area.
Pickup Mounting:
Pickups usually are attached to a guitar via either a pickguard (also known as a scratch plate) or a pickup ring (rear routed).
Pickguard: With this option, the cavity to house the pickups and controls is cut in the front of the guitar. All controls and pickups are then mounted to a "pick guard" which is usually a large piece of plastic. This pick guard is then screwed to the front of the guitar. Different styles and colors of pickguards can be used to accentuate the look of the guitar. If this option is selected, please note the style and color of the pick guard in the "special notes" section. Also, this option is not available with a carved-top instrument.
Rear Routed: When mounting pickups in this manner, smaller holes are cut in the front of the guitar that are just large enough to hold the pickups. The pickups are mounted to the face of the guitar by square "rings". The control cavity is then cut out from the back of the guitar where it isn't visible while the guitar is being played. This option shows more of the surface area of the top of the guitar, and is a good choice if using a decorative top cap.
Primary Neck Wood:
This option designates the primary wood from which the neck will be constructed. This wood is often the same as the rear wood on the body, but can be made from (almost) any woods the customer wants. The neck wood has an impact on the sound of an instrument, with harder woods (i.e. maple) being brighter and softer woods (i.e. mahogany) being warmer. Because necks are the most structurally important part of the instrument, there are some woods we will not use for necks due to strength reasons (i.e pine or a burled wood).
Contrasting Lamination Wood:
For strength reasons, all of our necks are made from multiple pieces of wood laminated together. We have found that using multiple pieces of wood makes a neck more bend and warp resistant. Because of this, it gives the opportunity to use an alternative type of wood in the lamination process as a decorative touch. Laminations can be simple or complex. If you are looking for something really unusual, make notes about what you want in the "special notes" field. If you do not want a multi-wood neck, select "none" as the option. This option will still utilize a laminated neck, but only within the same species of wood.
As a side note, in addition to the laminations we also incorporate carbon fiber rods and two-way adjustable truss rods to ensure your neck is as strong and adjustable as possible.
Fretboards:
The fretboard option designates what type of wood from which the fretboard will be constructed. The most common choices are listed, although there are other woods available.
Ebony: This is a very hard, dense wood. It is usually thought of as being black in color, but in reality it is usually a very dark brown. Sometimes there are streaks of lighter brown within the wood. When used in a fingerboard, it is left unfinished. This means that it occasionally needs to be oiled to prevent the ebony from cracking (although the cracking in most cases is just cosmetic). It can be polished to a near-gloss like texture, and feels very slippery under the fingers which some players desire. The tone of ebony is very bright.
Rosewood: Not as hard as ebony, this is a dark brown wood with a lot of visual character. It often has streaks and distinctive grain patters. Like ebony, rosewood fingerboards are left unfinished and need to be oiled occasionally. It is not as slick as ebony. The tone of rosewood is very warm.
Maple: Tonally between ebony and rosewood, it is a medium-bright sounding wood. Very light brown, bordering on white at times, maple often has very pretty grain lines and other visual characteristics. To keep them from rapidly discoloring from finger grime, maple fingerboards have a protective coat of finish on them. To some players, this finish sometimes feels "sticky" when playing. Other players love the feeling of finished maple fingerboards. Because of the finish, maple fingerboards do not require oiling as a maintenance. If played enough, the finish will eventually wear away between the frets, leaving darker wear marks. Many people like this look, as it gives a "relic" type look of a guitar that's been loved for many years.
Neck Thickness:
Necks can be carved to the thickness desired by the individual player. The minimum neck thickness is a hair over 3/4" (measured at the nut end from the back of the neck to the peak of the fretboard) that is dictated by the height of the truss-rod, contained in the middle of a neck. The thinner the neck, the more "finicky" it is are about needing adjustments due to variations in temperature and humidity. Thicker necks usually need fewer adjustments over time, but don't feel as "fast" to some players.
Nut Width:
Our standard nut width is that which is commonly used on many popular instruments: 1.5" for four string basses, 1 5/8" for guitars and 1 7/8" for five string basses. Some players want different nut widths, so if this is the case select "other" and list the nut width in the "special notes" area.
Nut Material:
Nuts are available made from many different materials. As a rule, we avoid using the cheap plastic nuts found on many guitars. Usually, we use two different types of quality nut made by the Graphtech company. The Tusq nut is a synthetic ivory substitute which is white in color. The graphite nut is black in color and is super slick to help the strings from getting bound up in the nut slots. Both nuts are good performers, so they are usually chosen based on the color that will best enhance the looks of the instrument. If another style of nut is preferred, specify the difference in the "special notes" section.
Zero Fret:
We offer an available "zero Fret" if one is desired, although this isn't a commonly requested option. A zero fret is an additional fret located where the nut normally resides. The nut is then moved back approximately a quarter inch. The strings run through the nut, and always rest on the zero fret. This in effect removes the nut from having much (if any) influence on the tone of the guitar, and nullifies the difference in sound that some instruments display between fretted and open notes. If you're a big fan of the "huge" open chord sound, the zero fret option may not be right for you. If you avoid open chords because they sound different from the other fretted chords, then a zero fret may help even out this difference.
Number Of Frets:
Fretted instruments can (in theory) have as many frets as a player wants. In practice, it is rare that they go beyond 24 as the space between the frets gets small enough to make it difficult to get fingers into that area. The fretless option is available primarily for bass players. It is possible to make a fretless guitar, but most of these instruments have been disappointing in their real-life performance. Note that depending on other factors (i.e. body shape) it may be difficult to reach some of the upper frets, so this should be taken into consideration when specifying the number of frets for an instrument.
Fretboard Radius:
The fretboard radius is a measurement of the curvature of the fretboard across its width. A smaller radius generally yields easier chording at the nut-end of the neck at the expense of needing a higher action to keep notes from "fretting out" when bending at the upper portions of the neck. A flatter radius has the opposite characteristics; the action can be set lower for bending up high, but chords aren't as comfortable. A compromise between the two is to select a "compound radius" where the radius of the fretboard is flatter at the upper frets, and gets tighter as you move closer to the nut.
Dot Inlays:
This option specifies what type of dot inlays (if any) will be placed on the face of the fingerboard. Dots are placed at the standard fret positions of 3, 5, 7, 9, 12, 15, 17, 19, 22 and 24 (if applicable). For other dot positions or alternate inlays, note this in the "special notes" section.
Unless otherwise requested, all instruments will have side dots at the standard position. They will be of the color that will best contrast the selected fretboard material (i.e. white dots for ebony and rosewood boards, black dots for maple boards.)
Fretboard Binding:
Fretboards can be bound or unbound. If binding is desired, this is the field where you designate the color(s) of binding to use. The white/black/white and black/white/black options designate three layer bindings with two outside colors and a contrasting inside color. Additional multiple binding combinations are available as well, just specify the desired combination in the "special notes" category. Generally, if the body is bound the fretboard binding will be the of the same type and color.
Headstock Style:
There are two primary styles of headstocks: angled and straight. Angled headstocks are similar to what is found on Gibson™ guitars, where the headstock is tilted back from the neck (we use a 12 degree scarf joint). Straight headstocks are similar to what Fender™ uses. These headstocks don't have an angle, but the face of the headstock is set lower than the fretboard to acheive correct downward pull of the string over the nut. Often times straight headstocks need the use of "string retainers" to increase the break angle on the higher strings in order to reduce string buzzing.
Headstock Configuration:
Most guitar headstocks have their tuning machines layed out in a "3+3" (three tuners on each side) or "6 on a side" configuration. Four string basses utilize either a "2+2" or a "4 on a side" configuration. Five string basses vary even more, but the "4+1" or "3+2" methods are most common. Note that unless otherwise specified, our guitars have our own unique headstock design that is optimized to give straight string pull across the nut for enhanced tuning stability. We can do other headstock designs as well, but note that some headstock designs are patented by their respective owner. In these cases we can do a design that's similar, but not exact to the original.
Headstock Overlay:
The headstock overlay option designates what the face (front) of the headstock looks like. Often times, an overlay is glued to the face of the headstock that matches the wood used on the front of the guitar's body. It's also possible to have an overlay that matches other wood used in the guitar. The "none" option means just that; no overlay is glued to the face of the headstock, so the headstock is the same color as the remaining neck wood. If the neck is made with fancy laminations, this allows the laminations to be visible from the front of the guitar which is a nice effect that some people like.
Hardware Color:
This option designates the finish color of the hardware (i.e. tuning keys, bridge, knobs, etc.) Chrome is the most common choice, but black and gold are also available. Note that some specialty items, such as fancy bridges, are not available in all colors. If this is the case, we will notify you prior to delivering the quote.
Tuning Keys:
Our "standard" tuning key is a high-quality model made by Gotoh. Another popular option is locking tuners made by Sperzel, where the string is pulled completely through the tuner, locked in place and the excess is cut off. Locking tuners give a cleaner look and faster string changes. In our experience we have not noticed a difference in tuning stability between standard and locking tuners. If a different brand or model of tuning key is desired, select "other" and note this in the "special notes" section.
Bridge:
There are many, many options for bridges; the form just lists some of the more popular ones. We can get nearly any desired bridge, so if the one you want isn't listed, select "other" and describe what you're looking for in the "special notes" field.
Strap Buttons:
Standard strap buttons are what are found on probably 99% of the guitars in existence. They are simple and work well. If you are an "active" player or you want the extra security of knowing the guitar won't come off the strap, then the Dunlop Straplocks are a good choice. These have an extra piece that mounts to your guitar strap, then "locks"into the strap peg until a button is pushed to release it. We may recommend strap locks for some guitar shapes, due to the where the strap button needs to be mounted. Another option is the nylon "T" type strap buttons. These look like a squat "T" and hold the guitar more securely than the standard buttons, but not as securely as the strap locks. The "T" type buttons are available in black only.
Knobs:
There are several options for knobs. A popular choice is a metal "dome" type with knurled edges to give a good grip. Other common options include the standard knob, that Fender uses on their Stratocaster™ guitars, and speed and bell knobs that have been used on Gibson Les Paul™ guitars over the years.
Neck, Middle And Bridge Pickups
There are a wide variety of pickups and pickup combinations available. In each of the pickup fields, specify what type of pickup to place in that position. If no pickup is desired (i.e. the standard Les Paul™ has no middle pickup) just select "None". If you know what brand and model pickup(s) you would like, please specify them in the "special notes" field. Otherwise, we will look at the selected options for the guitar and make brand and model recommendations accordingly.
Piezo Acoustic Pickup:
Adding a piezo pickup to an electric guitar adds quite a bit of flexibility to the available range of tones. Basically, a piezo pickup emulates the sound of an acoustic guitar. The sound is not as rich and full as an actual acoustic guitar, but sounds more like a good acoustic plugged into a PA system. A switch is added to the guitar that controls what signal is sent to the output jack: magnetic pickups, piezo pickups or both at the same time. Playing both piezo and magnetic pickups simultaneously can give some pretty cool sounds. A stereo jack is included that allows the magnetic pickup signal to be fed to a regular guitar amplifier, and the piezo signal to be run to an acoustic amp or direct into the PA.
Volume:
Most guitars have at least one volume knob, although it's not required. A master volume means that there is one volume knob for the whole guitar; turning the volume up or down affects all of the pickups. Individual volume knobs allow the volume levels for each pickup to be individually set, which allows more flexibility in getting different tones. If no volume knob is wanted, it is recommended to have an on/off switch to cut output from the guitar when it isn't wanted.
Tone:
A master tone means that there is one tone knob for the whole guitar; adjusting the tone affects all of the pickups. Individual tone knobs allow the tone levels for each pickup to be individually set, which allows more flexibility in getting different sounds. If you're the type of person who always leaves their tone knob all the way up, then the "none" option may be the right choice for you.
Pickup Switching:
There are many options for pickup switching. The quote form lists three of the most common, but we can do nearly any switching system you'd like.
3 Way Switch (Two Pickups) - If a guitar only has two pickups, then this is the most common switching option. It allows each pickup to be selected by itself, as well as both pickups simultaneously.
5 Way Switch (Three Pickups) - If a guitar has three pickups, then this is the most common switching option. It allows each pickup to be selected individually, and for each adjacent pair of pickups to be selected simultaneously.
Blend Pot (Two Pickups) - Rather than being limited to just three sounds, a blend pot allows continuous panning between two pickups. Turned to each extreme, just the individual pickups are activated. As the knob is turned, the volume on the opposite pickup is gradually increased until the knob reaches the center detent where both pickups are at full volume.
Switch Location:
This option selects where the pickup selector switch should be located. The three most common locations are listed, but the switch can be placed nearly anywhere the player would like.
Preferred String Gauge:
This option selects the string gauge (thickness) that the guitar will initially be set up to use. Generally, light strings are easier to play and heavy strings sound better. The gauge of string for guitars is usually denoted using just the gauge of the high string. Light strings are .009, medium is .010 and heavy are .011. For (4-string) bass, light strings are .040 to .095, medium are .045 to .100 and heavy strings are .050 to .105. What denotes light or heavy string for a baritone relies largely on the particular instrument's scale length.
Tuning:
This field denotes what tuning the guitar will be set up to use when it is received. Standard tuning means that it is tuned to the generally accepted pitch of "A = 440". Many players "tune down" to lower pitches to help the guitars sound heavier and/or to assist the singers with hitting the high notes. "1/2 Step Down" tuning means that each string is tuned a half step lower than it would be in normal standard tuning (i.e. the low "E" string is actually tuned to E flat.) "Full Step Down" tuning, respectively, means that each string is tuned a full step lower than standard (i.e. the low "E" string is actually tuned to D.) If you would like the guitar set up for a different tuning (or an open tuning, i.e. DADGAD), simply select "Other" and describe the appropriate tuning in the special notes field.
Case:
This field denotes what style of case is desired with the instrument, if any. Note that certain "unusual" guitar shapes may require a custom case to be built, which can be a significant additional expense.
Special Notes:
The number of options on a guitar is seemingly limitless, and this quote form cannot cover them all. This field is where you describe what you want for any of the fields that were marked as "other". You can also describe items or features that are not listed on the quote form. There's plenty of room in this field, so please be as descriptive as possible.
Primary Style Of Music:
When building an instrument, it is easier to make certain design decisions if it is known for what style of music the instrument will be used most often. This certainly does not mean that a guitar will be limited to use in a particular musical category, but it helps us better match the needs of the musician to their instrument.