Here’s a selection of the many colours I have done to date! If you don’t see what you want on this list then simply get in touch and I’ll see what I can do!
I pride myself on trying to match any colour, whether traditional or custom. So just let me know what colour you would like and I will see how close I can get!
The only finishes that I am unable to offer are ‘Sparkle’ finishes.


Nickel silver vs Stainless Steel. There are MANY great articles dedicated to this subject which I would encourage anyone who is interested in the subject to read.

From my personal experience my opinion on the mater is simple; stainless steel frets should be the new ‘norm’ for any new instrument – particularly if you are confident in the fretsize you want. They are harder, so therefore last longer, do not corrode or tarnish, feel smoother/silkier under the fingers, and offer a slightly brighter, livelier tone.

Nickel silver should be the option if you are a vintage fanatic and want the ultimate in vintage tone/feel and don’t care about re-frets being required throughout the life of the instrument.

45100 – A nice low/wide fret wire. Standard issue on Gibson Custom Shop guitars
47104 – Most common and popular medium jumbo fretwire size used by PRS, Ernie ball, etc.
50085 – Oversize vintage. Close to vintage with a little extra meet for bending
51100 – The perfect ’59 LP fretwire. Not too tall, not too wide, but just right
51108 – Slightly triangular in shape making for more precise intonation. Good height and width without feeling too jumbo.
55090 – Classic 6105 as used by all the big builders over the years. Tall/narrow electric guitar wire.
57110 – The classic Jumbo fret wire as used by PRS and most of the modern metal guitar manufacturers.
58118 – Super Jumbo size wire, for when Jumbo is just not jumbo enough.

Gotoh SE700 – M5
Gotoh SE700 – 06M
Gotoh SG301-07
Gotoh SG301-07-MG
Gotoh SD90-06M-MG-N
Gotoh SD90 MGT Keystone


Baseball bat
1st – 25.4mm (1.0”)
12th – 25.4mm (1.0”)
Classic chunky early 50s neck shape. As big as it gets!


‘59 Roundback
1st – 23mm (0.905”)
12th – 25mm (0.984”)
Based of the iconic ’59 burst profile. A big neck that doesn’t feel like a big neck!


Slim D
1st – 20.5mm (0.807”)
12th – 21.5mm (0.846”)
The most common neck shape found on standard F-style guitars and the like. Reduced front to back depth
with just enough shoulder to keep it from feeling too slim. The perfect middle ground


Modern D
1st – 19.5mm (0.768”)
12th – 20.5mm (0.807”)
Slim, and fast. Very similar to modern ‘shredder’ guitar necks.


Conway Roundback
1st – 22mm (0.866”)
12th – 23.5mm (0.925”)
My interpretation of the perfect LP neck. Slightly reduced thickness, particularly toward the upper frets for a little faster feel when soloing.


Conway Medium D
1st – 22.5mm (0.886”)
12th – 24mm (0.945”)
Essentially a Baseball bat shape with less thickness. Same full D/U profile minus the ‘hugeness’. Fills the hand fully for the classic chunky feel.


Conway Medium C
1st – 21.5mm (0.846”)
12th – 22.5mm (0.886”)
My ideal ‘C’ shape neck. Less ‘taper’ in thickness when travelling up the neck for a more even feel combined with less shoulder for a faster feel in hand. Still enough thickness to not feel like a small neck!


Conway Slim C
1st – 20.5mm (0.807”)
12th – 21.5mm (0.846”)
Essentially my Medium C with slightly reduced thickness for those who want an even faster feel.

  • Matte ‘open-pore’ pre-catalysed lacquer
  • Matte ‘open-pore’ polyurethane
  • Matte pre-catalysed lacquer (flat, open pored timbers)
  • Matte pre-catalysed lacquer (flat, close pored timbers)
  • Hi-Gloss pre-catalysed lacquer
  • Hi-Gloss Polyurethane
  • Nitrocellulose, ‘closset classic’
  • Nitrocellulose, lightly aged
  • Nitrocellulose, heavily aged

Open pore? Flat? What are you talking about?
Simply put, an ‘open-pore’ finish is just that, the pores of the timber are left open and unfilled (no grain filler). This finish accentuates the natural beautify of the timber and is also the thinnest possible finish available.

‘Flat’ finishes are grain filled to ensure an even, flat surface – the more ‘traditional’ finish.

What is Pre-Catalysed Lacquer?
Pre-Catalysed is lacquer that has had a hardening agent added during the manufacturing process. It is my personal favourite for when a vintage style finish is desired, without the typical drawbacks of Nitrocellulose. It has the typical look of Nitro, but is much harder and more wear resistant, does not have the typical sticky feel or volatility with solvents and certain cleaners. Yet it still ages and wears very nicely, and for those who wish for their guitars to age gracefully with playing. Works amazingly for low sheen finishes and hi-gloss finishes alike. Is far superior for hi-gloss finishes than Nitrocellulose.

What about Polyurethane?
Polyurethane is often misconstrued as being a ‘thick, heavy, tone killing’ finish. This could not be further from the truth! When applied correctly it can be laid on just as thin as a lacquer finish, and yet provides far more protection. I would recommend polyurethane for anyone who wants their instrument to look as close to the same in 20 years time as it does the day it was made. It is extremely hard wearing, virtually impervious to most chemicals and cleaners, It excels as a hi-gloss finish with outstanding clarity and ability to achieve a mirror gloss. Polyurethane does not naturally age in the same way as lacquer finishes, and therefore I would not recommend it to anyone who wishes for their guitar to do this.

And, Nitrocellulose?
As a finish, Nitrocellulose isn’t really a very good one at serving its purpose. It is soft, takes decades to truly be completely cured/handed, is not at all resistant to chemicals, and needs to be applied in a very particular manner. However, when applied correctly nothing looks, feels or smells anything close to it! It’s beautiful lustre, tactile feel and mild sickly sweet smell make Nitro the ultimate choice for a vintage inspired instrument. I have been lucky enough to find a supply of Nitro with zero plasticizers – just like they used in the 40’s and 50’s. This stuff is harder, cures faster and doesn’t have the typical sticky and rubbery feel of the modern Nitrocellulose.

Hard maple
Classic ‘F-style’ tone and feel. Bright, snappy, strong.

African Mahogany
Classic ‘G-style’ tone – warm, lovely midrange, subdued high end.

Spanish Cedar
Like the best lightweight Honduran Mahogany, but possibly better!

Honudran Mahogany
The ‘holy grail’ for the classic ‘G-style’ tone and feel. Warm and extremely responsive.

QLD Red Cedar
Amazing native Australian timber. Strong, beautiful, and dead straight grained. Amazing for necks. Lovely warmth with a snappy quality and bell like highs.

New Guinea Rosewood
Hailing from many areas across south-east Asian, New Guinea Rosewood is incredibly strong and stable making it the perfect choice for necks. Strong ‘bell like’ tap tone that translates to a very even frequency response and outstanding resonance. Ranging from golden browns to brick reds with a shimmering quality across the grain, it is also beautiful to behold.

Classic ‘F-style’ tone. Light to medium weight

Swamp Ash
Vintage correct ‘F-style’ tone. Bright, snappy, airy. Light to medium weight.

African Mahogany
Classic ‘G-style’ tone – warm, lovely midrange, subdued high end. Just as good as Honduran Mahogany, but more affordable and consistent from piece to piece! Medium weight.

Black Limba
Korina as its more commonly known in the guitar world. Unmistakable magic midrange and resonance. Medium weight.

Spanish Cedar
Like the best lightweight Honduran Mahogany, but possibly better! Light to medium weight.

QLD Red Cedar
Amazing native Australian timber. Strong and beautiful, tonally sits somewhere between Ash and Mahogany, sharing characteristics of both. Lovely midrange with a snappy quality and bell like highs. Light to medium weight.

FEATHERWEIGHT! If you want the lightest possible guitar, this is the stuff. Strikingly similar is looks to Ash. Lovely unique airy tone with even frequency response.

When laminated from the same piece of timber 2 or 3 piece bodies have no discernable impact on tone when compared to a 1 piece body.

The main difference is when looks are concerned.

As a general rule of thumb a 1 piece body is the premium option, best chosen for a transparent, or semi-transparent finish. Most 2 piece bodies are also suitable for transparent, or semi-transparent finishes. 3 piece bodies are best used for opaque finishes where the beauty of the timber isn’t the main factor.

However, if grain patterns and coloration are aligned correctly, a 3 piece body can be just as beautiful as a 1piece!

Clean and tidy
I pride myself on neat and clean wiring. From years as a repairer, there is nothing worse than opening up a wiring cavity and seeing messy wiring! It makes diagnosing issues and replacing faulty components infinitely more difficult. My ethos – make the insides look just as good as the outside!

CTS potentiometers are the industry standard for hi-quality potentiometers and come standard in all of my guitars.

I also offer Bourns potentiometers for those wanting and equally high quality pot with a slightly different feel. Bourns pots have a smoother/quicker rotation resistance in comparison to CTS. Great for volume swells!

Switchcraft and CRL switches come as standard in all of my guitars. The industry standard and the highest quality. I also offer Schaller Megaswitches which allow for more complex wiring set-ups. They also have a slightly different feel to CRL switches due to the absence of a spring mechanism.

Neutrik NYS229 output jacks – the best quality output jack on the market, for less than half the price of the ‘industry standard’. I have replaced hundreds of ‘industry standard’ jacks due to either corrosion, weak connection, or most commonly, a loose fit due. To this date, none of the Neutrik NYS229 jacks I have put in their place have ever come back! Unlike the industry standard jack, these are made from a stronger, more durable metal that does not weaken/get floppy over time, and appears to have higher corrosion/tarnish resistance.

If you love Paper-in-oil caps, you’re in luck! They come as an option on all of my custom guitars for any tone enthusiast. Many will argue they have a special warmth when in use, plus they also look very nice!

Treble bleed
Treble bleed circuits as standard on all of my instruments. Without doubt the most common wiring mod I have performed as a repairer is to install treble bleed circuits on volume controls. For this reason, I made them a standard feature on all of my guitars. They are a no-brainer for retaining all the high end goodness when rolling down the volume control!