Custom Guitar Build Checklist for Musicians

John Talman

— 19 min read
Two custom guitars built by JTal Guitars in Elkhorn, NE. One Telecaster style guitar is orange with metallic flake, the other is a Super Strat style all black

Ordering a custom electric guitar is one of the best investments a working musician can make. It is also one of the easiest ways to spend serious money on something that does not actually fit the gig. The difference between a custom guitar that becomes your number-one and one that collects dust usually comes down to how clearly you defined your specs before the build started.

This custom guitar build checklist is built from luthier experience across 100+ guitars built for working musicians, combined with sourced technical references. It covers the spec decisions that most affect reliability, playability, serviceability, and consistent tone on stage and in the studio. Use it as a decision framework, a communication tool with your builder, and a final inspection guide when the instrument arrives.

Contents:

Who this checklist is for

If you gig regularly, record sessions, or tour, your custom guitar specs should prioritize reliability and serviceability over collectibility. A guitar that sounds amazing in your living room but buzzes under stage lights, drifts out of tune in a hot van, or causes hand fatigue by the third set is not doing its job.

This guide is for players evaluating a custom electric guitar build and wanting practical defaults and tradeoffs rather than collector-focused options. It is not a guide to building a wall-hanger, a vintage replica, or a speculative investment piece. That distinction matters — it is the founding principle behind JTal Guitars: building for musicians, not collectors.

Before choosing specs: define the job

Before you pick a neck profile or argue about pickups, write down the job the guitar needs to do. Capture these details and share them with your builder:

  • Tuning(s): Standard, drop, open, or alternate tunings you use regularly
  • String gauge: Your preferred gauge and whether you change gauges between tunings
  • Set length and playing context: How many hours per night, how many nights per week
  • Transport: Hardcase in a van? Flight case in cargo? Gigbag on the subway?
  • Amp and pedal context: Clean platform amp with pedals? High-gain head? Modeler and in-ears?
  • Band context: How many other guitars in the mix? Do you need to cut through dense arrangements or sit in a sparse trio?

These answers drive almost every spec decision below. A player doing four-hour cover gigs in standard tuning with a clean Fender-style amp has different needs than a metal touring guitarist in drop-B through a high-gain stack.

If you already have this figured out and want to start a conversation about a build, reach out to JTal Guitars directly — the more detail you bring, the better the outcome.

Neck and playability specs

From direct builder experience: the neck is the single most important pass/fail factor in a custom guitar. A guitar can look and sound great, but if the neck does not feel right or causes fatigue over long sets, the instrument will not get played. Hand size, grip preference, and fatigue tolerance are the variables that matter most here.

Neck profile vs neck dimensions

Neck profiles (C, V, U) describe the back shape of the neck in cross section. As Fender's own guide explains, profile affects how the guitar feels and plays, not how it sounds.

  • C shape is the most common modern profile.
  • V shapes suit thumb-over players.
  • U shapes fill larger hands.

Profile letters alone are not precise enough for a custom order. Ask your builder to confirm neck depth at the 1st and 12th frets, and shoulder shape (rounded vs. flat).

Here is the best way to get the neck shape you are looking for: If you have a guitar you already love, measure it and send those numbers.

Nut width, string spacing, and taper

Nut width affects fretting-hand comfort, especially for chord work near the nut. Common electric guitar nut widths range from about 41mm to 44mm. Wider nuts give fingers more room but can increase stretch for smaller hands.

String spacing at the bridge affects your picking hand. If you do a lot of hybrid picking or fingerstyle, wider bridge spacing may help. Taper (the rate at which the neck widens from nut to body) should feel natural for your hand as you shift positions.

Locking nuts and Floyd Rose setups

If your build includes a Floyd Rose or similar locking tremolo system, the nut conversation changes entirely. A locking nut clamps the strings at the nut after tuning, which eliminates the nut slot as a friction and tuning-stability variable. That is a significant advantage for aggressive tremolo use — dive bombs, flutter, and heavy bending all stay in tune because the string is locked at both ends of its speaking length.

However, locking nuts introduce their own set of considerations that are easy to overlook during the spec process:

Nut shelf and neck pocket fit. A locking nut requires a flat shelf routed into the neck where it mounts. The depth and angle of this shelf directly affect string height at the first fret and the break angle over the nut. If the shelf is too deep or too shallow, the setup will fight you — and unlike a traditional nut, you cannot simply file slots to compensate. Get this right during the build, not after.

Locking nut shims. One of the most underrated tools in any Floyd Rose setup is the locking nut shim. These thin spacers sit under the locking nut to fine-tune its height, which controls action at the lower frets and string clearance over the first few frets. A fraction of a millimeter makes a noticeable difference in playability. Most players (and some builders) overlook this adjustment entirely, but it is one of the fastest ways to improve feel on a locking-trem guitar. For a deeper look at this, check out the JTal Guitars Tech Talk article on locking nut shims.

Fine tuners vs. headstock tuning. With a locking nut, you do your rough tuning at the headstock, lock the nut, and then use the fine tuners on the bridge for adjustments. This means your headstock tuners do not need to be locking tuners — the locking nut handles string clamping. Spending extra on locking tuners for a Floyd Rose build is usually unnecessary weight and cost.

String changes are slower. There is no way around this. Changing strings on a Floyd Rose with a locking nut takes longer than any other setup. Strings need to be trimmed to length, the ball ends may need to be cut (depending on the bridge design), and the nut clamps need to be loosened and retightened. For working musicians who need to change strings between sets, this is a real tradeoff worth acknowledging before you commit to a locking-trem build.

Spec the nut width carefully. Locking nuts come in standard widths (commonly R2, R3, R4 and similar designations depending on the manufacturer) that correspond to specific string spacing. Confirm with your builder that the locking nut width matches your neck's nut width and your preferred string spacing. A mismatch will put the outer strings too close to the fretboard edges or create uneven spacing across the neck.

Fingerboard radius and compound radius

A rounder radius (7.25" to 9.5") tends to feel comfortable for chording near the nut, while a flatter radius (12" to 16") supports lower action and big bends up the neck without fretting out. A compound radius starts rounder at the nut and flattens toward the upper frets, giving you both. StewMac's explanation of compound radius geometry is worth reading if the concept is new to you.

Decision rule: If you bend aggressively above the 12th fret and want low action, a compound radius (9.5" to 14" or similar) is a safe choice. If you rarely bend past the 7th fret, a single radius in the 9.5" to 12" range works fine. Note that compound-radius fretwork requires precision from your builder; sloppy execution negates its benefits.

Fret size for gigging

Fret size affects bending effort, intonation tolerance, and how the guitar feels across a long set. Taller frets (like 6105 or jumbo) make bending easier with less finger pressure. Medium frets (like 6130) offer a more traditional feel and can be slightly more forgiving on intonation for players with a heavy touch.

For gigging, consistency matters more than size preference. Choose a fret size you already like, or ask your builder for their recommendation based on your playing style and string gauge.

Fret material: nickel-silver vs stainless steel

This choice is a maintenance-frequency vs. service-cost tradeoff. Stringjoy's comparison of nickel-silver and stainless steel frets lays out the key differences clearly.

Nickel-silver frets wear faster (grooves develop with heavy play), have a slight drag or resistance that many players consider the traditional feel, cost less up front, and are cheaper and easier for techs to level and crown. The tradeoff is that heavy players will need fret leveling or a full refret more often.

Stainless steel frets wear very slowly (often years before leveling is needed), feel slick and glassy under bends, and rarely need a full refret. The tradeoff is a higher up-front cost and more expensive fretwork when it is eventually needed, because stainless is harder on tools and requires more labor.

Decision rule for touring musicians: If you play 150+ shows a year with aggressive bending, stainless steel frets reduce maintenance frequency and keep the guitar feeling consistent longer. If you prefer a traditional feel or want cheaper future fretwork, nickel-silver is the practical choice.

Roadworthy hardware

Guitar hardware for touring needs to hold tune, stay attached, and be replaceable with common parts. Exotic hardware that requires proprietary tools or parts you cannot source mid-tour is a liability.

Tuners: locking vs traditional

Locking tuners clamp the string at the post, reducing wraps and speeding up string changes. Stringjoy's breakdown of locking tuner advantages frames them correctly: they improve string-change speed and reduce slippage, but they are not a magic fix for tuning instability caused by a poorly cut nut or bad string path.

Locking tuners do add a small amount of headstock weight. If your design is already prone to neck dive, factor that in. For most working musicians, locking tuners are a strong default because fast, reliable string changes between sets matter.

Nut and string path

The nut is the most common source of tuning problems, and it is often overlooked. Nut slot quality, proper string break angle, and lubrication at friction points (nut slots, string trees if present) do more for tuning stability than any single hardware upgrade.

Specify a bone, TUSQ, or graphite nut cut to match your string gauge. If your builder uses string trees, request roller or low-friction types. A well-cut nut with proper slot depth and width is worth more than any aftermarket tuner swap.

Bridge and trem choices

Match your bridge to your tuning needs and maintenance tolerance:

  • Hardtail (fixed bridge): Maximum tuning stability, simplest setup, fewest failure points. Best default for players who do not use a tremolo.
  • Two-point tremolo: Good range of expression with reasonable stability when set up properly. Requires more maintenance and a solid nut/string path.
  • Floyd Rose / locking trem: Extreme stability once locked, but string changes are slow and setup is more involved. Worth it if dive bombs and flutter are part of your sound; a liability if you need to change tunings between songs.

If you change tunings during a set, a hardtail is almost always the right call for your primary instrument. For more on Floyd Rose setup specifically, check out the JTal Guitars Tech Talk blog — there is a deep dive on locking nut shims that most players overlook.

Strap buttons and strap locks

A guitar hitting the stage floor is a gig-ending event. Treat strap security as mandatory, not optional. Specify strap lock buttons (Schaller, Dunlop, or equivalent) and confirm they fit inside your case without modification.

Electronics and wiring

Simple, quiet, and repeatable. Those are the three words that should guide your electronics spec. Every additional switch or pot is a potential failure point under stage vibration and temperature swings.

Pickups: choose for the mix, not solo tone

Select pickups based on how you sit in the band mix, not how they sound alone in your practice room. A pickup that sounds rich and full in isolation may disappear in a dense mix. Consider output level relative to your gain staging and EQ relative to your amp and pedal chain.

If you play in a loud band with another guitarist, a pickup with clear midrange presence and enough output to push your amp's front end will serve you better than a "sweet vintage" pickup with low output and scooped mids.

Pickup height and setup plan

Pickup choice is only half the equation. Seymour Duncan's pickup height guide explains that height adjustment has a major impact on output, warmth, clarity, and even tuning stability. Fralin Pickups' measurement method adds a practical technique: fret the string at the highest fret and measure from the bottom of the string to the top of the pole piece.

Pickups set too close to the strings can pull them sharp or cause a warbling "wolf tone" effect (sometimes called Stratitis on single coils). Ask your builder to set a baseline height per the pickup manufacturer's recommendation, then fine-tune by ear for balanced output between neck and bridge positions.

Switching options: coil split vs series vs parallel

Understanding your guitar wiring options (series, parallel, coil split) helps you spec controls that are genuinely useful on stage rather than novelties you never touch. Anderson Guitarworks' technical explanation breaks down the differences clearly.

Series wiring is the standard humbucker configuration: both coils run in series, producing full output with a mid-focused voice. It is hum-canceling and the default choice for high-gain rhythm tones.

Parallel wiring keeps both coils active but wires them in parallel, resulting in lower output with a cleaner, airier character. It stays hum-canceling, which makes it more useful than coil split for live use where stage lighting introduces noise. Think of it as a cleaner option without sacrificing quiet operation.

Coil split disables one coil entirely, giving you a true single-coil voice with all the brightness and snap that comes with it. The tradeoff is real: you lose hum-canceling, so expect noise under stage lights, and the volume drop between split and full humbucker can be significant. It delivers the biggest tonal jump of the three options if you can live with the hum.

Decision rule for live use: If you need a clean, hum-free option from a humbucker, parallel wiring is more useful than coil split because it stays quiet under stage lighting. If you want the biggest tonal jump and can tolerate hum, coil split gives you a genuine single-coil voice. Limit yourself to switching options you will actually use mid-song.

Pots, caps, and component quality

Specify pot values (250k for single coils, 500k for humbuckers as a starting point) and taper preference (audio taper for volume, linear or audio for tone depending on taste). Use sealed or encased pots rated for the vibration of touring. Cheap open-frame pots can develop scratchy spots or intermittent contact faster.

Cap values for tone controls are largely preference (0.022µF and 0.047µF are common starting points). Pick one you have tested and liked rather than chasing theoretical "best" values.

Shielding and noise control

Request conductive shielding paint or copper foil in all control and pickup cavities, with a solid ground connection. Proper shielding will not eliminate all noise (single coils will still hum under certain stage lights), but it reduces buzz from RF interference and stray electrical noise.

Set realistic expectations: shielding controls what it can control. If you need dead silence, hum-canceling pickups or parallel wiring will do more than any shielding job.

Woods, weight, and ergonomics

Choose weight and balance targets first, then select materials that meet them. A gorgeous piece of figured maple means nothing if the guitar gives you shoulder pain by the second set.

Target weight range and balance

For a full-evening gig, most players find 7 to 8.5 lbs comfortable with a standard strap. Heavier guitars cause fatigue. Lighter guitars can feel insubstantial to some players. Set a weight ceiling with your builder and discuss it early.

Neck dive (the headstock dropping when you let go) is a balance problem, not a weight problem. It is caused by a body that is too light relative to the headstock/neck assembly, or by a body shape with a short upper horn that moves the strap button too close to the neck. Address balance in the design phase, not after the guitar is built.

Body contours and access

Specify forearm contours, tummy cuts, and a heel joint that allows comfortable access to upper frets. If your playing requires regular work above the 15th fret, a sculpted heel or set-neck joint with a smooth transition is worth the design consideration.

These are not luxury features. They are ergonomic decisions that affect how long you can play comfortably and how freely you can move around the neck.

Neck finish feel

A glossy neck finish can get sticky when your hands sweat, slowing position shifts. Satin or oil-finished necks feel faster and more consistent in varying humidity and temperature conditions.

If you prefer the look of gloss, ask your builder about a gloss body with a satin or rubbed-out neck back. Many builders offer this as a standard option, and it is a practical compromise that keeps the neck fast while maintaining a polished appearance.

Finish and durability

Finish is about protection, repair reality, and feel. Andertons' comparison of nitro and poly finishes covers the core tradeoffs without the mythology. Do not choose a finish based on tone claims; the measurable sonic differences are negligible compared to every other variable on this list.

Nitrocellulose (nitro) finishes are thinner, chip and check more easily, and react more to temperature swings. They yellow and wear over time, which gives them the vintage aging look many players want. Touch-ups are easier because new coats of nitro melt into old ones, blending more naturally. The finish can feel thinner and closer to the wood.

Polyester and polyurethane (poly) finishes are harder and more resistant to dings, scratches, and climate changes. They stay looking consistent for much longer and hold up better to the abuse of touring. The tradeoff is that touch-ups are harder to blend and tend to be more visible. Poly can feel slightly thicker, though this varies by application.

Decision rule for touring: If the guitar lives in a van, flies in cargo, and gets played on sweaty stages, poly finishes handle the abuse better and require less cosmetic maintenance. If you want the guitar to age visibly and you are comfortable with cosmetic wear, nitro is an aesthetic choice you can make with eyes open. Either way, match your finish choice to satin or gloss based on feel preference, especially on the neck back.

Setup targets

Your guitar setup specs for action, relief, and intonation should be defined as measurable baselines, not vague preferences like "low" or "medium."

Action measurement conventions

Action is the distance between the bottom of the string and the top of the fret, commonly measured at the 12th fret using a ruler or string action gauge. Sweetwater's setup guide confirms the same convention: measure at the 12th fret with the ruler parallel to the string.

Relief, action, and intonation baselines

Provide your builder with target ranges rather than single numbers, and specify the string gauge and tuning those targets assume:

  • Relief: A small amount of forward bow (typically 0.008" to 0.012" at the 8th fret with the string fretted at the 1st and last fret) keeps the guitar from buzzing in the middle of the neck.
  • Action at 12th fret: Common ranges for electric guitar are roughly 3/64" to 5/64" on the high E and 4/64" to 6/64" on the low E. Lower is not always better; give yourself a "touring-safe" margin above the buzz threshold so the guitar still plays clean after a temperature swing.
  • Intonation: Set with fresh strings of your specified gauge at your specified tuning. Check at the 12th fret harmonic vs. fretted note.

From direct builder experience: setup checks are not seasonal for working musicians. Relief and action may need checking daily to weekly depending on travel, humidity, and temperature swings. A truss rod may need small quarter-turn adjustments. Bridge saddle height may need slight tweaks. Build a habit of checking setup before soundcheck, not once per season.

String gauge and tuning stability

Your setup targets only hold for a specific string gauge and tuning. If you change gauge or tuning, the setup needs re-evaluation. Heavier gauges increase tension and may require truss rod adjustment. Lighter gauges decrease tension and can introduce buzz at the same action height. Document your gauge and tuning on the spec sheet so your builder (and any future tech) can reproduce the setup.

Ordering a custom build

Knowing how to spec a custom guitar is only half the process. You also need to communicate clearly with your builder and understand the logistics. At JTal Guitars, the process starts with a detailed conversation about what you need — the more specifics you bring, the better the outcome.

Questions to ask before committing:

  • What is your current lead time, and how firm is that estimate?
  • At what stage can I still make spec changes without adding cost or delay?
  • What is your warranty, and what does it cover?
  • If something needs adjustment or repair mid-tour, how do you handle that remotely?
  • Do you have experience building for the tuning/gauge/style I need?
  • Can I visit the shop or see progress photos during the build?

Spec sheet checklist to send

Send your builder a single document covering every decision. Here is a template:

CUSTOM GUITAR SPEC SHEET

Player: [Name] Primary use: [Gigging / Recording / Both] Tuning(s): [Standard / Drop D / etc.] String gauge: [e.g., .010-.046]

NECK

  • Profile: [C / V / U / specific depth at 1st and 12th]
  • Nut width: [mm]
  • Fingerboard radius: [single or compound, specify numbers]
  • Fret size: [wire number or equivalent, e.g., 6105]
  • Fret material: [Nickel-silver / Stainless steel]
  • Fingerboard material: [Rosewood / Maple / Ebony / etc.]
  • Neck finish: [Satin / Gloss / Oil]
  • Scale length: [25.5" / 24.75" / other]

BODY

  • Target weight: [max lbs]
  • Body wood: [preference or "builder's choice within weight target"]
  • Contours: [Forearm cut / Tummy cut / Heel access]
  • Body finish: [Satin / Gloss / Nitro / Poly]
  • Color: [specify]

HARDWARE

  • Tuners: [Locking / Traditional; brand preference]
  • Nut material: [Bone / TUSQ / Graphite]
  • Bridge type: [Hardtail / 2-point trem / Floyd]
  • Strap buttons: [Strap lock type]

ELECTRONICS

  • Pickup configuration: [SSS / HSS / HH / etc.]
  • Pickup models: [specific models or "builder recommendation for X context"]
  • Switching: [Standard / Coil split / Series-parallel / etc.]
  • Controls: [e.g., 1 volume, 1 tone, 5-way]
  • Pot values and taper: [250k/500k, audio/linear]
  • Shielding: [Yes]

SETUP TARGETS

  • Action at 12th fret: [high E / low E in 64ths of an inch]
  • Relief: [target range]
  • Intonation: [set for specified gauge and tuning]

REFERENCE GUITAR: [Make/model/year of a guitar you like, with measurements if available]

NOTES: [Anything else: balance priorities, aesthetic preferences, case fit requirements]

Photos, references, and "known-good" guitars

The most useful thing you can send a builder (besides a spec sheet) is measurements from a guitar you already love playing. Measure the neck depth at the 1st and 12th frets, the nut width, the string spacing at the bridge, and the overall weight. Photos of the neck profile cross-section are helpful too.

Reference guitars reduce ambiguity. "I want a neck like my 2004 SG but with a slightly wider nut" is more useful than "I want a medium-slim profile."

Common custom-order mistakes

  • Vague specs: "Medium neck" means different things to different builders. Use numbers.
  • Overcomplicated wiring: Every extra switch is a potential point of failure on stage. If you will not use it mid-song, leave it out.
  • Ignoring weight and balance: Specifying exotic woods without a weight ceiling can result in a 10 lb guitar that you resent carrying.
  • Speccing for the studio when you gig: A noiseless, ultra-clean studio guitar may not cut through a loud stage mix. Spec for your primary use case.
  • Not asking about serviceability: Can a local tech work on this guitar with standard parts and tools?

Quick defaults

If you are ordering your first custom electric guitar build and feeling overwhelmed, these conservative defaults minimize risk and maintenance:

  • Neck profile: Modern C, approximately 0.82" at 1st fret, 0.92" at 12th
  • Nut width: 42mm to 43mm
  • Radius: 9.5" to 14" compound
  • Frets: Stainless steel, 6105 or equivalent medium-jumbo
  • Tuners: Locking, 18:1 ratio
  • Nut: Bone or TUSQ, cut to gauge
  • Bridge: Hardtail (if no trem needed)
  • Strap buttons: Strap lock type
  • Pickups: Moderate output suited to your amp/gain context
  • Wiring: 1 volume, 1 tone, standard switching (add coil split if using humbuckers)
  • Shielding: Full cavity shielding
  • Target weight: Under 8.5 lbs
  • Body finish: Poly gloss or satin
  • Neck finish: Satin back
  • Setup: Middle-of-the-road action with a touring safety margin

These are starting points, not rules. Adjust based on your hands, your music, and your playing context. You can also browse past and current JTal Guitar models to see how these specs come together in real builds.

Final pre-flight check

When your custom guitar shows up, do not just plug it in and start playing. Run through this inspection before the first gig:

Visual inspection:

  • Check for finish flaws, cracks, or shipping damage
  • Confirm hardware matches your spec sheet
  • Verify fret ends are smooth and level (run your hand along both edges of the neck)
  • Check nut slots for clean cuts without burrs

Setup verification:

  • Measure action at the 12th fret (both sides) with a gauge
  • Check neck relief with a capo at the 1st fret and fretting at the last fret; measure at the 8th fret
  • Check intonation at the 12th fret on all strings (harmonic vs. fretted)
  • Play every fret on every string; listen for buzz, dead spots, or choking bends

Electronics check:

  • Test every pickup position and switching option
  • Roll volume and tone pots full range; listen for scratching, cutting out, or noise
  • Check for excessive hum or buzz (test under fluorescent lights if possible)
  • Confirm output balance between pickup positions

Hardware check:

  • Tug the strap locks firmly
  • Tune up, bend hard, retune; check tuning stability after aggressive playing
  • If equipped with a tremolo, dive and return; check tuning
  • Confirm the guitar fits in your case with all hardware attached

Document everything:

  • Record your setup measurements (action, relief, pickup heights) as a baseline
  • Take photos of the guitar on arrival (useful for insurance and warranty)
  • Note the date, string gauge, and tuning for future reference

If anything is off, contact your builder with measurements and photos before gigging the instrument. A good builder expects this process and welcomes the feedback. Read JTal Guitars customer reviews to see how other working musicians have experienced this process — communication and post-delivery support are where the relationship really matters.

FAQ: Custom guitar builds

How much does a custom guitar cost?

Custom electric guitar pricing varies widely depending on the builder, materials, and complexity. Boutique and independent builders typically range from $1,200 to $3,500 for a professional-grade instrument. Major brand custom shops (Fender Custom Shop, Gibson Custom) can run $3,500 to $7,000+. The sweet spot for working musicians who need gig-ready quality without collector-grade pricing tends to be $1,500 to $2,500. At JTal Guitars, builds are priced to put custom-quality instruments in the hands of players, not collectors.

How long does a custom guitar take to build?

Lead times depend on the builder's queue and the complexity of the build. Independent builders typically quote 4 to 16 weeks. Larger custom shops can take 6 months to over a year. Always ask for a realistic estimate up front, and confirm at what point in the process you can still make spec changes without affecting the timeline.

Is a custom guitar worth it over a high-end production guitar?

For working musicians, the value of a custom build is not about prestige — it is about fit. A production guitar is designed for the average player. A custom guitar is built to your hands, your tuning, your playing style, and your gigging demands. If you have ever modified a production guitar to get it where you want it (swapping pickups, reshaping a neck, replacing hardware), you have already identified the gap a custom build fills from day one.

What should I bring to my first conversation with a custom guitar builder?

Start with the job the guitar needs to do: your tuning, string gauge, playing context (gigging, recording, both), and any specific ergonomic needs. If you have a reference guitar you love, bring measurements from it — neck depth, nut width, weight, string spacing. The more concrete detail you provide, the fewer assumptions your builder has to make. See the spec sheet template above for a full list.

Can I order a custom guitar if I am not a professional musician?

Absolutely. Many custom guitar buyers are passionate hobbyists, home recording enthusiasts, and weekend players who simply want an instrument tailored to their preferences. You do not need a touring schedule to benefit from a guitar built to your hands and your sound.

How do I know if a custom guitar builder is legitimate?

Look for real customer reviews, photos of completed builds, and a clear process for communication and payment. Ask about their warranty and what happens if something needs adjustment after delivery. A good builder will be transparent about timelines, pricing, and their experience level. JTal Guitars customer reviews and build history are a good example of what to look for.

A custom guitar spec sheet is a communication document first and a wish list second.

The clearer you are about the job the guitar needs to do, the fewer surprises you will have when it arrives. Measure what you can, reference what you know, and leave room for your builder's expertise on the details that benefit from it.

The best custom guitars are built from honest conversations about how the instrument will actually be used.

JTal Guitars builds custom electric guitars for working musicians in Elkhorn, Nebraska. Browse available guitars or start a conversation about a custom build.

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