Master Program, Term 3
The Business Plan, Shop Layout, Building Elective, Voicing Level 3
We do not profit from your tool purchase. All tools purchased through the Galloup School of Lutherie are purchased at our cost. In many cases, our suppliers offer student discounts to you while you are attending our school. We strongly recommend you take advantage of our services and purchase your tools at this time in the program. Tool package costs vary depending on tool prices at the time of purchase, and shipping charges will be in addition to the costs of tools.
CLASS: BUSINESS 1
The Business Plan
Time for us to sit down and take a look at how you want to proceed as a luthier after completing the Master Program. There are many things to consider, whether you're starting your own business or seeking employment. We'll help you lay out a sound business plan for setting up a shop or finding a position in lutherie.
CLASS: BUSINESS 2
Shop Layout
The Galloup Guitars school and shop are among the best planned, best equipped shops in the country. This attention to shop layout makes it easier to learn and helps you get your work done on schedule. After you graduate and move to your own shop, what you learn in this Shop Layout segment of the program will keep you working efficiently. We discuss how to set up a shop for your current work as well as a shop design that will accommodate your projected businesses growth.
OPTIONS: You choose the instrument you'll build in Term 3
Choose any one of the instruments below to build in Term 3 of your Master training (not the same instrument you elect to build in Term 2).
CLASS: ARCHTOP 1
Body
Your guitarmaking skills aren't complete until you've mastered the techniques of building an archtop guitar - one of the most desirable and collectible instruments, and also among the most difficult and fun to build. By the time you have completed this final segment of the Master Program you will have experienced every aspect of guitar building and repair and will have the knowledge necessary to progress as a well-rounded Luthier.
Topics covered:
The archtop neck design includes the handsome details that are traditional on jazz-style guitars: wooden stringers running the length of the neck, and a carved volute on the back of the peghead. You'll build a neck using these classic design elements and learn how they affect tone and strength. Advanced binding work is included too: a bound peghead, bound fretboard, and peghead inlays.
Topics covered:
CLASS: ARCHTOP 3
Bridge, Pickguard, Tailpiece and Truss Rod Cover
Like the most impressive archtops, yours will have a hand-carved wooden tailpiece and bridge, and a pickguard and truss rod cover made of wood. You'll choose wood that matches your fretboard and peghead overlays, and ties together the overall look of your instrument.
Topics covered:
Your archtop is a true acoustic instrument, but most archtop players prefer the added versatility of a pickup. You'll mount a free-floating pickup that secures to the pickguard, learning how to mount electronics to the instrument unobtrusively.
Topics covered:
CLASS: ARCHTOP 5
Finishing
In finishing, you'll learn how to deal with flame maple back and sides, with the added challenge of an arched top and back. At this point, you'll be impressed by how far you've progressed as a finisher!
Topics covered:
CLASS: ARCHTOP 6
Setup and Assembly
Setting up an archtop is significantly different from the other instruments we've covered. You'll now be dealing with a much steeper neck pitch and adjustable archtop style bridge.
Topics covered:
Your guitarmaking skills aren't complete until you've mastered the techniques of building an archtop guitar - one of the most desirable and collectible instruments, and also among the most difficult and fun to build. By the time you have completed this final segment of the Master Program you will have experienced every aspect of guitar building and repair and will have the knowledge necessary to progress as a well-rounded Luthier.
Topics covered:
- Guitar layout and design
- Selecting wood
- Matching top sets
- Matching back and side
- Joining tops and backs
- Top carving
- Bracing top
- Carving F holes
- Tuning the top
- Bending the sides
- Fitting the sides to the mold
- Gluing the head and end blocks
- Fitting the kerfing
- Shaping the side braces
- Scalloping the top bracing
- Assembling the body
- Binding and purfling
- Cutting the dovetail
The archtop neck design includes the handsome details that are traditional on jazz-style guitars: wooden stringers running the length of the neck, and a carved volute on the back of the peghead. You'll build a neck using these classic design elements and learn how they affect tone and strength. Advanced binding work is included too: a bound peghead, bound fretboard, and peghead inlays.
Topics covered:
- Scale length
- Making the fretboard
- Fretboard bindings
- Fretboard inlays
- Truss rod installation
- Cutting the dovetail
- Peghead designs
- Peghead overlays
- Tuner layout and fitting
- Gluing fretboards
- Leveling fretboards using the neck jig
- Fretting
- Shaping necks and heels
- Neck-sets
- Fretboard markers
- Side markers
- Peghead pearl inlay
- Heel cap
CLASS: ARCHTOP 3
Bridge, Pickguard, Tailpiece and Truss Rod CoverLike the most impressive archtops, yours will have a hand-carved wooden tailpiece and bridge, and a pickguard and truss rod cover made of wood. You'll choose wood that matches your fretboard and peghead overlays, and ties together the overall look of your instrument.
Topics covered:
- Tailpiece
- Tailpiece mounting bracket
- Truss rod cover
- Pickguard
- Pickguard mounting brackets
Your archtop is a true acoustic instrument, but most archtop players prefer the added versatility of a pickup. You'll mount a free-floating pickup that secures to the pickguard, learning how to mount electronics to the instrument unobtrusively.
Topics covered:
- Pickup selection
- Pickup placement
- Altering the pickguard to accept the pickup
- Mounting controls to the pickguard
- Output jack placement
CLASS: ARCHTOP 5
FinishingIn finishing, you'll learn how to deal with flame maple back and sides, with the added challenge of an arched top and back. At this point, you'll be impressed by how far you've progressed as a finisher!
Topics covered:
- Scraping binding
- Finish sanding
- Using spray guns
- Advanced masking techniques
- Wash coats
- Spraying a three-tone sunburst
- Clear coats
- Wet sanding
- Buffing
CLASS: ARCHTOP 6
Setup and AssemblySetting up an archtop is significantly different from the other instruments we've covered. You'll now be dealing with a much steeper neck pitch and adjustable archtop style bridge.
Topics covered:
- Final neck sets
- Bridge layouts
- Making the bridge
- Making the tailpiece
- Installing the tuners
- Fitting the tailpiece
- Dressing frets
- Making nuts
- Final setup
- Final buff and polish
CLASS: CLASSICAL 1
Body
In today's market, guitars that have a hand bent cutaway demand the highest price tag. Detail work such as hand cut mitered purflings on the top, back and sides show the talent and commitment to excellence of a true craftsman. Your Master Program Classical will incorporate all of these features plus many new lessons that will elevate you to the next level of guitar building.
Topics covered:
CLASS: CLASSICAL 2
Neck
One of the most popular acoustic guitar designs is a slotted peghead with the neck/body joint at the 12th frets. Focusing on this format opens an area of guitar building and tone that are overlooked by other builders. You'll expand your skills by focusing on a different style of neck layout and how it affects the top bracing and tone.
Topics covered:
CLASS: CLASSICAL 3
Finishing
By this time you'll be very familiar with our spray booth, and you'll notice a significant improvement in your finishing technique. We will also cover how to deal with side and back purflings during the finishing process.
Topics covered:
CLASS: CLASSICAL 4
Setup and Assembly
Final setup and assembly are the means to well-balanced tone, and most people consider these to be the most challenging aspects of the course. The classical guitar setup can prove to be especially challenging in order to get the delicate tone this instrument has to offer.
Topics covered:
In today's market, guitars that have a hand bent cutaway demand the highest price tag. Detail work such as hand cut mitered purflings on the top, back and sides show the talent and commitment to excellence of a true craftsman. Your Master Program Classical will incorporate all of these features plus many new lessons that will elevate you to the next level of guitar building.
Topics covered:
- Classical guitar layout and design
- Selecting wood
- Matching top sets
- Matching back and side
- Joining tops and backs
- Thickness sanding
- Bending the sides
- Bending the cutaway
- Cutting the rosette and soundhole
- Fitting the sides to the mold
- Gluing in head and end blocks
- Fitting kerfing and linings
- Shaping side braces
- Scalloping back braces
- Fan style top bracing
- Assembling the body
- Cutting binding and purfling slots
- Mitering purflings
- Binding
- Cutting the mortise
- Drilling neck mounting holes
CLASS: CLASSICAL 2
NeckOne of the most popular acoustic guitar designs is a slotted peghead with the neck/body joint at the 12th frets. Focusing on this format opens an area of guitar building and tone that are overlooked by other builders. You'll expand your skills by focusing on a different style of neck layout and how it affects the top bracing and tone.
Topics covered:
- Scale length
- Making fretboards
- Binding fretboardx
- Fret markers
- Making the neck
- Peghead designs
- Peghead overlays and laminates
- Cutting a slotted peghead
- Tuner layout and fitting
- Truss rod installation
- Gluing fretboards
- Shaping necks and heels
- Neck sets
- Side markers
- Peghead pearl inlay
- Heel cap and laminate
CLASS: CLASSICAL 3
FinishingBy this time you'll be very familiar with our spray booth, and you'll notice a significant improvement in your finishing technique. We will also cover how to deal with side and back purflings during the finishing process.
Topics covered:
- Scraping binding and purflings
- Finish sanding
- Using spray guns
- Wash coats
- Fillers
- Sunburst
- Clear coats
- Wet sanding
- Buffing
CLASS: CLASSICAL 4
Setup and AssemblyFinal setup and assembly are the means to well-balanced tone, and most people consider these to be the most challenging aspects of the course. The classical guitar setup can prove to be especially challenging in order to get the delicate tone this instrument has to offer.
Topics covered:
- Final neck sets
- Bridge layouts
- Gluing bridges
- Installing tuners
- Fitting bridge pins
- Leveling fretboards using a neck jig
- Fretting
- Dressing frets
- Making nuts
- Making saddles
- Final setup
- Final buff and polish
Set-neck Electric guitar
Bryan has designed a method of building set-neck, carved-top electric guitars and basses that fits well into the Master Program curriculum, and this method is also well suited to small shop production. It's a very profitable production approach for the micro-builder.
Using high quality materials, you'll scratch-build a guitar or bass using that reflects the classic lines of some of the finest electrics ever made. In addition, we've added pickup winding to this project, putting you one step closer to building an entirely scratch-built instrument.
CLASS 1: ELECTRIC Electric Body
Wood choice and body design play a large part in the tone of an electric guitar. Play several solidbody guitars unamplified, and you'll notice distinct differences between various wood types. A solidbody that sounds good acoustically will generally sound good amplified. We'll look at the different woods used to make electric guitars, and the effect of different body styles on tone and sustain.
Topics covered:
Just as wood affects the body, when making a neck you have to pay attention to wood choice in order to have a good sounding guitar. You'll learn what makes a neck sound and play great.
Topics covered:
The final set of the electric guitar neck gives the guitar its overall feel and tone. You'll learn to assemble your guitar with this in mind to give your guitar perfect feel.
Topics covered:
You'll finish your electric guitar with the same methods used by guitar companies in the '50s and '60s - techniques that have stood the test of time. See how to get a classic sunburst with a vintage look using high gloss nitrocellulose lacquer.
Topics covered:
Now that you've built a custom guitar, you'll choose the wiring and pickups - pickups that you'll wind yourself, giving you more control over the tone of your guitar.
Topics covered:
Learn how to assemble and set up an electric guitar to factory specs. Our methods make the job much easier, and cut your setup time in half - skills you'll use every day.
Topics covered:
Click here to close this option
Using high quality materials, you'll scratch-build a guitar or bass using that reflects the classic lines of some of the finest electrics ever made. In addition, we've added pickup winding to this project, putting you one step closer to building an entirely scratch-built instrument.
CLASS 1: ELECTRIC Electric Body
Wood choice and body design play a large part in the tone of an electric guitar. Play several solidbody guitars unamplified, and you'll notice distinct differences between various wood types. A solidbody that sounds good acoustically will generally sound good amplified. We'll look at the different woods used to make electric guitars, and the effect of different body styles on tone and sustain.
Topics covered:
- Body styles
- Wood choice
- Joining Flame Maple tops
- Joining Mahogony backs
- Pre-routing for electroics
- Gluing up body blanks
- Drilling locating holes
- Routing Jigs and templates
- Routing control cavities
- Routing pickup cavities
- Routing neck joints
- Routing carved tops
- Cutting out body style
- Binding
Just as wood affects the body, when making a neck you have to pay attention to wood choice in order to have a good sounding guitar. You'll learn what makes a neck sound and play great.
Topics covered:
- Wood choice
- Gluing up neck blanks
- Truss rod instalation
- Cutting neck joint
- Scale lengths
- Fretboard radius
- Making fret board
- Making peg head overlay
- Custom inlay
- Drilling tuner holes
- Gluing on fret boards
- Carving necks
The final set of the electric guitar neck gives the guitar its overall feel and tone. You'll learn to assemble your guitar with this in mind to give your guitar perfect feel.
Topics covered:
- Setting neck to body
- Fitting neck joint
- Final neck set
- Final shaping of neck, heel and body
- Finish sanding
- Masking for finishing
- Installing neck hangers
You'll finish your electric guitar with the same methods used by guitar companies in the '50s and '60s - techniques that have stood the test of time. See how to get a classic sunburst with a vintage look using high gloss nitrocellulose lacquer.
Topics covered:
- Masking bindings
- Body filling
- Body wood stains
- Spraying techniques
- Spraying sun burst
- Clear coats
- Wet sanding
- Buffing
Now that you've built a custom guitar, you'll choose the wiring and pickups - pickups that you'll wind yourself, giving you more control over the tone of your guitar.
Topics covered:
- Grounding plates
- Pick up winding
- Pickup installation
- Wiring volume pots
- Wiring tone pots
- Wiring switches
- Wiring output jack
- Bridge and string grounding
Learn how to assemble and set up an electric guitar to factory specs. Our methods make the job much easier, and cut your setup time in half - skills you'll use every day.
Topics covered:
- Pickguard placement
- Bridge placement
- Tuner installation
- Installing strap bottoms
- Fret dress
- Nut
- Bridge set up
- Action
- String tree placement
- Pick up height
- Intonation
- Final buff and polish
Click here to close this option
CLASS: MANDOLIN 1
Body
Your instrument making skills aren't complete until you've mastered the techniques of building an archtop instrument. Archtops are among the most desirable and collectible instruments, and also among the most difficult (and fun) to build. By the time you've completed this segment of the Master Program, you've experienced a unique style of acoustic instrument building — and you’ll have another feather in your cap on your way to becoming a well-rounded Luthier.
Topics covered:
The mandolin neck design includes the handsome details that are traditional on these classic instruments: a solid one-piece flame maple neck matching the back and sides, and a carved volute on the back of the peghead. You'll build a neck using these classic design elements and learn how they affect tone and strength. Advanced binding work is included too: a bound peghead, bound fretboard, and peghead inlays.
Topics covered:
Like the most impressive mandolins, yours will have a hand-carved wooden bridge, and correct-era pickguard, truss rod cover and mounting hardware.
Topics covered:
In finishing, you'll learn how to deal with flame maple back and sides, with the added challenge of an arched top and back. At this point, you'll be impressed by how far you've progressed as a finisher!
Topics covered:
Setting up a mandolin is significantly different from the other instruments we've covered. You'll now be dealing with a much steeper neck pitch and adjustable archtop-style bridge.
Topics covered:
Your instrument making skills aren't complete until you've mastered the techniques of building an archtop instrument. Archtops are among the most desirable and collectible instruments, and also among the most difficult (and fun) to build. By the time you've completed this segment of the Master Program, you've experienced a unique style of acoustic instrument building — and you’ll have another feather in your cap on your way to becoming a well-rounded Luthier.
Topics covered:
- Mandolin layout and design
- Selecting wood
- Matching top sets
- Matching the back and side
- Joining tops and backs
- Top carving
- Bracing top
- Carving F-holes
- Tuning the top
- Bending the sides
- Fitting the sides to mold
- Gluing the head and end blocks
- Fitting the kerfing
- Shaping the side braces
- Scalloping the top bracing
- Assembling the body
- Binding and purfling
- Cutting the dovetail
The mandolin neck design includes the handsome details that are traditional on these classic instruments: a solid one-piece flame maple neck matching the back and sides, and a carved volute on the back of the peghead. You'll build a neck using these classic design elements and learn how they affect tone and strength. Advanced binding work is included too: a bound peghead, bound fretboard, and peghead inlays.
Topics covered:
- Scale lengths
- Making the fretboard
- Fretboard bindings
- Truss rod installation
- Cutting the dovetail
- Peghead designs
- Peghead overlays
- Tuner layout and fitting
- Gluing fretboards
- Leveling fretboards using the neck jig
- Fretting
- Shaping necks and heels
- Neck sets
- Fretboard markers
- Side markers
- Peghead pearl inlay
- Final neck sets
- Heel cap
Like the most impressive mandolins, yours will have a hand-carved wooden bridge, and correct-era pickguard, truss rod cover and mounting hardware.
Topics covered:
- Bridge
- Tailpiece
- Tailpiece mounting bracket
- Truss rod cover
- Pickguard
- Making bridge
- Pickguard mounting brackets
In finishing, you'll learn how to deal with flame maple back and sides, with the added challenge of an arched top and back. At this point, you'll be impressed by how far you've progressed as a finisher!
Topics covered:
- Scraping binding
- Finish sanding
- Using spray guns
- Advanced masking techniques
- Wash coats
- Spraying sunbursts
- Clear coats
- Wet sanding
- Buffing
Setting up a mandolin is significantly different from the other instruments we've covered. You'll now be dealing with a much steeper neck pitch and adjustable archtop-style bridge.
Topics covered:
- Bridge layouts
- Installing tuners
- Fitting the tailpiece
- Dressing frets
- Making nuts
- Final setup
- Final buff and polish
CLASS: VOICING, LEVEL 3 Applying voicing knowledge in building
Building on the foundation established in Voicing 1 and 2 through practical application. Setting aside any bias about what is the best tone, the builder's challenge is creating the conditions that deliver the particular tone needed from a particular guitar.
Topics covered:
- Review: overview of material testing
- Applying your measurements
- The purpose of voicing
- Brace carving: scalloping, tapering and other carving methods
- Practical application and demonstration of top voicing
- Back tuning
- Measuring the final resonances
- Tuning body resonances
- Summary, conclusions
Graduation
When you finish your second building elective, you'll have completed the Galloup Master Program. It's time for congratulations - you've accomplished a lot of work, and gained a world of experience!
