"...Bill builds guitars like he lives his life—calm, relaxed, yet purposeful and with great imagination and freedom. Which is refreshing, for within his course, much of my false assumptions about acoustics were dashed mightily, but replaced with demonstrated and proven scientific truths. He brought my understanding and perspective of luthierie to a whole new level..."                           Entire evaluation text here

U.S. Patent examiner Debra Meislin writes:

"Nothing easy is ever worth it and building a guitar is no exception. Alongside a skilled luthier, I scraped and sanded, measured and glued, clamped and chiseled for two entrancing weeks.  It all seems a dream now, until I open that black case lined with crushed green velvet holding what I created out of seemingly innocuous blocks of wood.  But innocuous they were
not.  A single strum appears to ring forever.  A warm, full musical voice reminds me that, yes, it was all worth it.  I couldn't imagine the loss of never having had the experience.
   Thank you, Bill, for your warm, full voice that guided me on an unforgettable journey."

     

Human Resources executive Fred Burgos writes:

"I’m 56 years old, and I’ve worn many hats in my life, but I never got around to doing something I’d always wanted to do – turn a pile of wood into an instrument of music. As a boy I was convinced it took magical powers to do that. I know better now, yet I still can’t come up with an excuse for my lifelong procrastination. Perhaps life just got in the way. Remember what Lennon said - “life is what happens while you’re busy making other plans”? Lucky for me, that changed this summer. Thanks to Master Luthier William R. Cumpiano, I turned off the “plans” and turned on the planer, and guess what? I actually made a guitar – a damned good one at that."
                             (Fred's complete tutorial evaluation text here)

Editor Ted Gilley writes:

"I am still recovering from the hard work of the tutorial and feeling the elation of having built a great and beautiful guitar with you.  I know I was not the best of students--I don't consider myself a natural at very many things, and I'm too readily flustered--but I feel 98% more confident than I did before coming to Northampton, which seems to me like an enormous gain; and while I have no plans to rush into guitarmaking, I know that I am prepared to at least give that process the kind of thoughtful attention you taught me to use every day in the shop.  Thank you for that valuable lesson, among others."

And here's his new rosewood jumbo 12 string:

Stage designer Chris Driscoll writes:

I had the undivided attention of a master craftsman at my disposal. I ended the course with a beautiful instrument that anyone would be proud to own. I have the added pleasure of being able to say that I provided a significant hand in its creation. I would recommend without hesitation this course to the first time luthier, interested hobbyist and even those who have already built a few instruments. I guarantee that even those with some instrument building experience have a lot they can learn from someone of William’s vast expertise and experience..           (complete tutorial evaluation text here)

Telecom-industry consultant Steve Granek took some time off and built a sleek M-style curly maple guitar recently. Afterwards, he sent me this evaluation.

More tutorial evaluations:

Gary Williamson took the tutorial, and asked for a special marquetry rosette tutorial by master guitarmaker/marqueter Alan Chapman. Here is a special photo sequence of  Gary Williamson's marquetry rosette tutorial 

Read Miami salsa trombonist/ tv commercial producer Robert Berrios' end-of-course evaluation

Washington State insurance man Gabe Butler loved the cuatro so much he took a cuatromaking course from me. Read his impressions here.

Designer/Craftsman Roger Cash evaluates his tutorial session

Retired steelman Henry Stern made a classic guitar in my shop:

Software Engineer Kevin Curtis wrote:

    I wanted to thank you again for the past wonderful two weeks. I look at the guitar and am still amazed that I did it--with a lot of your help, of course.
    You're an amazing teacher and person. Many with your remarkable skills would be intimidating, but your are patient and helpful to a degree few have. I'm thankful for having the chance to get to know you.

Below, transoceanic sailor Harry Zanville final-sands his Purpleheart cutaway classic guitar. Below we see his almost-completed classic and the one I was making beside his--this one with Osage Orange back and sides and Purpleheart bindings.

Retired forge operator (forger?) Tom Petredean now owns a unique parlor-sized guitar patterned after the Martin Ditson Grand Concert. He writes:

  I'm back home now, having completed two long, wonderful and intense weeks. I really have to put my Ditson Grand Concert back in its case. It's "in the white" (unfinished) and I'm getting it soiled from playing it so much. It looks and sounds so good though. Patient and calm teacher. Helping this first time guitar builder through the many processes involved in constructing a guitar. It was a process of "demystification" for me. After looking at Cumpiano and Natelson's book for so many years, trying to imagine how to proceed through all the required steps. William is right there, explaining, demonstrating, observing, advising until I began to feel comfortable in the process.
  The two weeks were so much more than a build by number type project. One is immersed in the cultural and historical implications of our instruments and music. Immersed in the dynamics of a guitar string, wood, acoustics, tools, and on and on.
  In addition to Williams breadth of knowledge and experience there is Harry Becker, authorized Martin repairman, just a room away. Working on guitars of all sorts. Customers traveling great distances just to have Harry fix their guitars. Harry is always ready to show and explain what he is doing while repairing an instrument.

You can spend a couple of weeks in my New England shop and I'll personally teach you how to make your own guitar -- all materials, tool use, and instruction included. Here are the details:

Teaching format
Location
Costs
Registration

Little or no woodworking experience is necessary--just patience and an open, "beginner's mind." I have taught people of all ages, of all levels of experience-- and all have emerged surprised and delighted with the instrument they've taken home. The evaluations  from my past tutorial students on this page speak for themselves.

How's that? Let me know if I've covered all the bases or not -- or to reserve a slot.

Teaching Format:

MAKING A GUITAR WITH WILLIAM CUMPIANO

2 week Session, one on one: You will be working under my direct supervision, in my shop, solo: no other students at the same time; and follow my instructions and movements, as you watch me work on a guitar I'm making for my own shop -- while you follow along on your own guitar in a step by step fashion. We can both work on a classic, steel string, cuatro or requinto guitar: it's your choice. No one else in my studio but you and me.

COURSE CURRICULUM

Assembling the guitar from dimensioned materials. Extensive discussions on guitar acoustics, history, design and technology are included.

During the 2 week session, you will create  a completed, strung up-- but not lacquered--guitar in two weeks from dimensioned and partly-shaped materials furnished by me (or  obtained elsewhere by you). You can then take the completed --but unfinished, "in the white," instrument home to finish or have it professionally finished at an extra charge.

Session Availability:

I have to work the two week sessions around my yearly commission schedule, so the number of sessions and slots is extremely limited.

2007: All available session slots are filled, sorry!

2008: I have decided to curtail the number of sessions offered in 2008 because I wish to create a video DVD companion to my guitarmaking book during that period and catch up with a backlog of commissioned instruments waiting for my attention.
However, these sessions will only be offered to a list of patiently waiting folks who have contacted me previously, a list which is now closed.

2009:  All slots have been booked for 2009. Sorry!

2010:  I am accepting reservations for the 2010 session year. Inquire by writing me at william @ cumpiano.com

Costs:

TUITION

2 week Session, one on one:  $5000

MATERIALS

If the instructor supplies the materials, the cost would be an additional $400 to $800 or more, depending on materials and fittings selected. You can bring your own case or purchase one from me at my cost. During registration, I will send you a list of basic material costs and available tonewood, hardware and case upgrades.

LODGING:

Securing local lodging is the learner's responsibility. I can suggest some comfortable lodgings at various rate levels nearby.
    
Optionally, learners can also choose to stay in a comfortable private guest apartment in my home (which is 1/2 mile from the workshop), which is available for $75 a night (somewhat less than commercial rates nearby), which consists of bedroom, living room, private porch, kitchenette and private bathroom. Linens and continental breakfast are included. Oh, and it's got a nice home-entertainment system. Pictures here. My home and the apartment is a fifteen-minute walk to  Main Street in Northampton and fifteen-minute walk to my studio.

VEHICLE: Renting or bringing your own vehicle is optional. If you don't have your own vehicle, I can pick you up and drive you every day to the shop and back. I can also drive you from the nearest airport and back on your arrival and departure. The nearest airport is Bradley/Springfield (BDL)

Location:

MAKING A GUITAR WITH WILLIAM CUMPIANO

My shop is located in Western Massachusetts, in the small city of Northampton, which is a half hour's drive from Springfield, Massachusetts, (the state's third largest city) and one hour's drive North on I-91 from Hartford, Connecticut.

Northampton is a beautiful New England college town (Smith College, with Amherst, Hampshire, Mt. Holyoke and UMass nearby) with great restaurants, a lively nightlife and a lot of top live-music acts coming through town; it has been awarded the title of "best small town for the arts in America" for two years running.

Registration:

MAKING A GUITAR WITH WILLIAM CUMPIANO

There are often more applicants than slots available. As a result, learners can only be selected on a first-come, first-served basis. "First come" means: whose deposit arrives first.

Payment schedule

If you wish to sign up for the  2 week one on one course my instructor's fee will be $5000. I will require a $1000 retainer (refundable only as described below), which must be included with a signed letter of agreement that I will send you after we settle on the details. The signed agreement and check must arrive back to me as soon as possible, or you may find that the slot has been made unavailable by another deposit which arrived sooner. The retainer will be applied to the course fee.  $3000 will be payable on the first day of the course and $1000 at the end.

I need to receive the materials fee four weeks before the start date, and one-half of the housing fee (if you're staying in my guest room) at signing time, although I have been flexible with that in the past.

Refunds and Cancellations

The Letter of Agreement that we will exchange will specify dates and the instrument's specifications, but most importantly it will specify that you've read and accepted my refund and cancellation policy.

As far as refunds and cancellations,  IF YOU CANCEL, whether I return the retainer or return it in part will be at my discretion, and will depend on several factors, including how close to the start date you cancelled; if you've cancelled for an emergency situation; and if I can find a person on my cancellation list that can jump in to your spot.
"I just changed my mind" won't work. Remember: I've pushed aside two weeks of paying work to accommodate you! That's what deposits are for!!!

I reserve the right to be able to cancel for good cause. Now, IF I have to cancel, the deposit/retainer can apply to another course at another mutually agreeable time, or will be refunded within 15 days, as you prefer.

More Tutorial Student Evaluations:

Seamus Cantwell came all the way from Tipperary, Ireland (yeah, he knows, it's a long way--he gets that all the time) to make a 12-fret curly Koa jumbo guitar with abalone purflings around the top. His course evaluation can be found here.

Below is a close-up of the guitars Seamus and I made together. Mine is in the foreground.

When he's not designing planetarium shows for the Boston Museum of Science, Wade Sylvester makes guitars. He extensively documented a recent "extended" tutorial with me on his own webpage.

Joe Wilmont works at CBS news and made himself a fine classic guitar in my shop in May 2009. Here he is showing his finished work off to his friends at CBS:

Joe with Andy Rooney looking real impressed by Joe's new guitar

Here's Joe with Executive Producer of 48Hours
Susan Zirinsky. She seems very happy for him!

Above, consultant Peter Schireson completed his own Hauser-copy classic guitar in my shop. His comments here.
 

Michigan State University professor of education Mark Conley made a dreadnaught-style guitar during a two-week tutorial. Later he wrote:

"I would readily recommend this class to anyone with more than a passing interest in making a guitar. Whether you build only one guitar with William, or use this class as a beginning for a new hobby or even a career, this class will be a rare experience you will never forget."

His entire course evaluation can be found here.