Making The Turner Guitar

An Architect's Illustrated VIeW of the GuitaJmaking Process

by Barry Price
 Guitannaker Magazine, Appendix #24-a

© August, 1994. The Association of Stringed Instrument Artisans (A.S.I.A.)

in conjunction with

Rick Turner of Turner Guitars and Barry Price, Architect.

All Rights Reserved.

'This publication has been produced as an educational service

for the membership of The Association of Stringed Instrument Artisans,

as inspiration for friends and clients of Turner Gui tars,

and for the personal use of the book's creator, Barry Price.

You are encouraged to share this publication with your friends and associates,

but we ask that you please not reproduce the illustrations contained herein by any means

including photocopying, scanning, printing, or graphic reproduction

without the expressed permission in writing from A.S.I.A., Turner Guitars, or Barry Price.

Additional copies of this book are available at a cost of

$15.00 each, plus $3.00 postage and handling from:

Rick Turner c/ o Turner Guitars

850 Fernwood Pacific Drive, P. O. Box 1612

Topanga, CA 90290

(310) 455-2839
or

The Association of Stringed Instrument Artisans

P.O. Box 341

Paul Smiths, NY 12970

Membership and bulk book il1qlliries nrc imliieri.

 Contents

.:. The Association ofStringed Instrument Artisans .....................i

.:. Preface by Dick Boak ............................................................................ ji

.:. Intrcxluction by Rick Tumer...................................................... ill, iv

.:. Artist's Renl.aIks by Bany Price................................................ v, vi

.:. Diagram of Raw Materials .................................................... Plate 1

.:. Body................................................................................................. Plate 2

.:. Body (Continued)...................................................................... Plate 3

.:. Neck................................................................................................. Plate 4

.:. Peghead.......................................................................................... Plate 5

.:. Fingerboard .................................................................................. Plate 6

.:. Fingerboard (Continued) ....................................................... Plate 7

.:. Plastic Components.................................................................. Plate 8

.:. Component Assembly............................................................ Plate 9

.:. Component Assembly (Continued) .............................. Plate 10

.:. Final Assembly & After Finish Application................ Plate 11

The Association o/,Strillgcc! IllstrUillcllt J\rl'isl7lls (:)' uitm'JIIl7kcr Mag(Jziw'

During the summer of 1YHH, a smdll group of stringed inlrl.lment I11ak 'f" ,1IlLl n'j)i1ir il;chnici, no Inl'! wilh the inl ~ nl
of establishing a not-for-profit professional trade organization. Most simply, we pref,:rred to bc :m "associiltion", dl'ciLiing
to focus specifically on "stringed instruments", and we felt that the word "artisans" best deocribed our I11Utl,," Iactivities.
Hence, The Association of Stringed Instrument Artisans (with the accidental yet recognizable acronym of "AS.l.A") was born.
Michael Dresdner was chosen to launch the concept of AS.J.A., with the initial goal of facilitating through COIKl'nSllS a
mission statement and set of bylaws that would provide a framework of integrity for Olu future evolution.
With Michael Dresdner's task complete, a Board of Directors was elected and Dick Boak, assuming the voluntary
post of editor and executive director, began the task of developing a publication and operating procedure. The AS.J.A.
journal began as a very informal4-page newsletter and grew over the course of several years into the substantial and
respected magazine Guitarmalcer.
AS.LA membership continues to grow substantially. Starting with 20 initial advisors, AS.LA's ranks now
include makers, repair technicians, and stringed instrument enthusiasts worldwide. In 1991, AS.l.A had the opportunity
to increase membership by fulfilling the subscription responsibility of what had been GPI's String Instrument Craftsman
newsletter. Subsequently, AS.J.A. membership has grown almually to its current level of 1750 and is expected to reach
2000 within the next year.
One of the most exciting elements of AS.LA has been the bi-annual gatherings or "Symposia," which have served
to bring hWldreds of makers and repair technicians together to exchange information, exhibit new work, find new SOlUces,
be exposed to key lecturers, develop lasting friendships, and have hll. Off year regional seminars and workshops are
currently offered in more than twenty different locations.
Though the priorities have certainly evolved, AS.LA.'s basic goals have remained essentially the same:
• to provide a sense of community for instrument makers, repair technicians, and enthusiasts Oh'k Book fillS SI'l iyr/liJ l' 1111' 1.t"'1 "" 11'111 t
• to continually increase the level of professionalism within the craft t'xl'(lIl i11t , ilirl'c/nl" III AS.IA , urlll n/lf,., Ilf III
• to publish an informative, useful, and valued jOlUnal for the membership 1I ~ ..;nL'i(/finil·,"; II/ md t /'llt jll lfllWI I ,ufllUm,4
MIISllZiu(. WiIIJ Jllf t dfJI'rllll/utJ4ul I'! IF III
• to encourage inter-communication through the publication of a cross-referenced membership directory
1'.\"l'ellli ll/' dirl'l'/ llrlHlIJ ('rl/lm, J)I,. 11'1/1 I
• to offer multi-level educational Symposia, workshops, and seminars for the field ,"fl:ppins i/OW H I"~ ",'n't' ih II "wr" /II' "I "
• to develop a scholarship fund for on-going education within the field A,S,J.l1.. 11l11!i~l lnI IJcw,', "IIu-, 1.. ~t4 ,,'r/h I,
• to develop an assortment of health, instrument, and shop insurance programs al gronp rate, tlumk:; 1\ 1 I t S, j 1\ , IHf"lll/r~4 t 1m till If
• to establish a comprehensive database of resources, skills, supp lies, i1l1d 1('(;11l1ie;·r\ infllrrtVlt'illn ('Pili rj/rr ltiUIJ ';;j fIlWrlfrr,\'(trrlr'Ht WI, t "11/1(11 I
tlmlll,c.:hmlf Ili~ ~/ 'trmt'
• to assist the membership in the promotion i1l1d mill'keting of their produ ct's
This booklet exemplifies the spiri t ofwhM AS.l.A. is ~ II ;lbuu t. W~ ,lre ,'spcc ially I'lcds,'d III h,l l'i ' 1i,ld ,I I' al'l ill il s
publication and ava ilablity.
fJrefl7cl'

While attending the 1994 Winter NAMM Show in Anaheim, California, I had the pleasure of visiting myoId friend
Rick Turner in his Marriott Towers "Hospitality Suite", which adjoined with Steve Klein's room. Both Rick and Steve were
displaying an assortil1ent of their guitar models and the two rooms had become quite popular for musicians and makers
alike. As I entered, there were several seperate pockets of guitar playing and intense discussion about our craft. While
seated on one of the double beds, Rick came mshing over with what looked like an artist's notebook and said, "You've got
to see this!"
I leafed past the title page and the table of contents to the first illustrated page entitled "Raw Materials" and my
jaw dropped . What an incredibly beautiful and clear exploded view. I inunediately related to the illustration since I had
executed many tedious exploded views in my past position as draftsman for C. F. Martin, but there was something quite
different about these drawings. They were looser than ruled draftings, humble and delicate in their approacll, much more
personal in their almost storyboard or thumbnail stylization. Most simply, I loved them.
My uncontained excitement caused several others to peer over my shoulder at the drawings. Everyone agreed that
the booklet was something specia l. In a nutshell, Barry Price had captured not only the essence of the Turner guitar, but he
had also made a profound surnmerization about the instrument making process.
As editor of Guitannaker Magazine and as executive director of the Association of Stringed Instrument Artisans
(AS.IA), I expressed inunediate interest in publishing the booklet as a service to the membership. I felt that anyone
involved in the guitarmaking process would greatly appreciate seeing or having a copy of the book, and I inuned iately
approacl1ed Rick about initiating such a publication, After speaking with Banry, we were all in agreement,
Few readers will ever have an opportunity to see Barry Price's original spiral bound artist's sketcl1 book This
reproduction attempts to faithfully capture the integrity and feeling of the original while making slight in1provements in
tlle presentation and format wherever possible, The actual drawings have not been altered and special care has been taken
to preserve through fine screening the delicate pencil guide and shading lines that are subtle yet visible behind the dark ink
lines,
Lastly, it is my hope that you experience the same excitement that I felt when I first saw Barry's drawings.
Enjoy.

&t~~ ~Q . . .5. .__

Dick HOlik

Nllzllrl'l/i, i"'III1,<yiVIIllili '1.'194

II
Infradu Ifull

In the medieval crafts guild system, there was a time in each apprentice's
career when it was time to prove to his mentor and to the other masters of the
guild that he had acquired sufficient skill and basic understanding of his craft to
be considered a "journeyman" - literally one who had the right to journey and
work in any master's shop. The tangible proof of skill was an "apprentice-piece"
which could be a set of miniatures using all the techniques and structural details
of the full size pieces; it could be a full scale piece with a tour-de-force decorative
feature. Whatever it was, it had to show that the apprentice really "got it" with
regards to his chosen craft and that he was ready to join the ranks of professionals
proudly furthering the state-of-the-craft.
This book is the modern equivalent of an apprentice-piece. In it, Bany
Price shows beautifully and conclusively a complete understanding of the
processes which go into making one of my guitar models. Welcome to the ranks
of professional guitar makers, Barry. And, thank you.

U~n0
Rick Turner

Topanga, California, 1994

ill
 Vl'Il'Il'1I Xllillll' d,'siXIII'l j lllllk l.'i', I,iek 'j)".,II'I', 1,IIOIoXI',II,III'd III IIis , IIol' ill
')('I""lg0, CaJifil/'/Iia, I leis holdillS II eUlI/pldcd Mode! 'I ..ll'c/l'ic ~ lIilnl',

IV
I<mv MII/crill/s
,/
..
'I

flfA. ZI/I-t-t1 "1If/J.?1 ~i1'f

z t'/L/CI ' II'/A,pl.r.

? filfflt hu,t

4- L;'pl1 '/

~ PIC. 6ft

1/ P/4 cJ{ f f.t~ ', 1/;vn .

1 -4 ~5 /J!~ck pil/she.

t' (mlllCn7 [ti d

'7 nlcl<dfllfrttfcrnn
11/ 1''l/lirc.
I I /lP/!(t7f?(
 /-.

/
/'
,,

'7.
frn (11;1-( f,> /nl(rf(tf/ 1· /,fAUt/ilft .!"iIf~ 4frll"q'
UVI-f"/ <5 / ,hlt: ld Ii" IV<'.., h1t!Hl~ r
'.

..
•
•
..

~ ('fI (duf~ f lt-A/vr hlil / " (If} r QU(( f~d'l5~ilf( 1. ( o(/k fltcKJd lftr 5 !1t' 8 . f(( - ftbfd {.r} h /d/~1
Paftt r I C/M f4/f-r if tl(i I 2
Body (Collfilllll'd)

~ /). bih/!'i'l1 wi 11'»7

: I((?hltY 7/(/(

I
-,, I
.j

"
• {
,. ,'.
,
/~. /lp, GIf t((Jc)fOJ I{ f
at(11/ (dl /<Z ­ •

IJU I Of hdl"1
 ~I

J I C 17 .. d

3,

I'

J I I / I '''1
 Peg/lead

/ I
I
,

5. /I(I/r ,l .\
r
pM 11 K
riA cui
1 17 4 . ~AIf ( Ivrf
I. b d? p ft V ll1( t r 1.. rrlll f (( II /(1( K c( I't/f.ltl (pt/ r.c ( Alii hlf
9/lfl .1. hi wi tiM! f! 1 h1 f1J 11 If !J
II"" fit f I tJ I(/{ *p{(/;,
..

.. . 1 .'...-

~ . {I vtf f-c ( I. /{~rI IIIiff ell!

~/ndln1
.. I
7 J II/4th!
'1/ h"/~ flf Iv

{Hrt. :u cr l ,'/I
<I« 1c t
Ii
:

y. Arl/I fn
r OJt h~n
MA r/(i:(r t 1
-[-1C:]
-t~ (JIm?

,
I , "
 1\ \ 1'<1
I /# f7fWJ if( f
ll1;(f "",)
jl(l11/ f!tls~
- t HtA"7 ",,,,,ItA
(It f'3 {/tic c. \~
? ( { r l tl /!
1--- - - - -,
Fingerboard J<!C r l tJn

~~
(Con tinued)

n
If . 1/l/ e p(nfl(,,?
srl/t f! ~ PAt·/(

.~

.~

' ..
'.,
/rJ1l f ll e/
• f 'rll(f'h1 4rJ

II
A/ ,/ ?I (
 ,
flII'AIi/1 MOIIIII ill8 I~illg

? I, fi Ij J,~./ /'~ /( ­
v!' ;r/()'j//f/17 ' /"7
~--;L... -

l.~ :~ :
Battery Compartment Cover • -J J-- ,. -
~~.

4· (dl/rr h7 Sh,,!( 6.IJfi!SiUd 11(7/¢ r(,

f fll4 ( N y ' ''ilA ("'M!/1 r'rlt7~ /I r <'ow /'"

Back Access Panel

1.. i CQU f (-111 f,. ~. f,YlIJ0 Jl1hti 6: -ft '1/S"lu.( /; ~cf

(ill' Jh A/( shlCf l ti (' r ( Jr ! c:r 1/ ~ /

8
f 1M - vI'
J(Af/- .ifI II I"
(tflYfj

~ .. :. ,
•••

t J ~ hi 4', ",;, j lvt - lif { -flf l hn/shdt! vt:('IA'I

V07tt( ()V(r/"'I "',uK Vl" Uf" t? Vtl'lAJ PIA" k

Component Assembly
1. ~.{tf /?t!ofr
/rtf ! (-r(
( "It-I 11Vl)
ff­ { 1If'"eh~/lJ
17 ((,.1( S~ It pt

f;. ///J /it. II 1-1 vJJ !'Pel

t fl YW tJ,J I--rl/.r/1
.rh 'f ( ( I It hl"<lj
 ~/lf" .. II. d'( fIJI v~hl ,(,'"(
II A/fit 11 V( /rl
II (.,~/C
.171116 J'
"Iu'l (tl' Y'j)

Component Assembly
(Continued)

•
If', .c//{i4r/ ~

" -'--=-, ~j f~vft Iii hi

/It.v){ (£ctYn
.-'
f!<M.I

•
f..
.tll/l,vf
~
rt((,K 1"1
~~4y ((f61( 7J

rf.ivff ftl1l/1IF(~

ttll,,-'v.( ilIl itvp/4 !half 10

 ,
- ....

,.•
• •

,
•
16 "~r'rlj frJ d(Ci'UJ7 fC/
f ftl(r4~vlt IV ,rn tll
h nl'"/Irh

~ .- - ---------'-"
•
------ - - - _..-----.., Final Assembly & After Finish Applications ~-- -~- ~_-~ ._. ___

• •

,,

.
",

I n,htfylo.f j ttlm/,'7I?blth
rta. d 1 k; ';'urd 1J/fr,dLA..n;",
~ ,u f' - vp. II
 Prqltlrr!ti for Publiell/lollinj

&~~ \'oc.","_
TIlt' A:Mrin/irm III Sirillged Ills/nll/WII/ Art ;;;/IIIS

Cllltnrmnk,'r MngIlZ/lll', AJlI~'llilix #2-/.'/1

IIlIgIlS/, 199·1