Welcome

Guitar making, guitars repairs and guitar setups. Makers of all string instrument, from acoustic guitars, electric guitars to bass guitars and classical guitars. Violins, Violas, and Cellos in our specialist workshop.L.A. Guitars have been making guitars and violins, and repairing string instruments for the last 40 years in North London. Their knowledge, insights and experience have resulted in instruments displaying the highest standard of sound and playability.

HANDMADE GUITARS AND GUITAR REPAIRS IN LONDON SINCE 1974

L.A. GUITARS – GUITAR AND VIOLIN REPAIRS AND CUSTOMISING

If you want your guitar/violin to play better, feel better and sound better, why not let us pamper it!

Bring it in for a professional setup.

We provide a professional, reliable and reasonably priced guitar service.

  • Guitar setups.
  • Guitar repairs – Broken necks and other woodwork.
  • Guitar electronics – Guitar pickups, wiring and custom wiring.
  • Repairs to violins, violas, cellos and double basses.

L.A. GUITARS – HANDMADE “THE TELEART”

On the bench is an electric guitar we made

  • Back and sides – re-claimed rosewood.
  • Top – pine from an old piano soundboard (1800’s).
  • Pickups – Dimarzio / Kent Armstrong.
  • Neck – Ebony fingerboard, Birdseye maple.
  • Bridge – Graph Tech Ghost acoustic pickup.

This is probably one of the most unusual guitars.

It has a very versatile array of sounds, from a Telecaster/Stratocaster to a full bodied Gibson. One can bring in the acoustic pickup at any position for added sparkle, or play it alone as an electro-acoustic guitar. The acoustic sound of this guitar is sublime.

ATTITUDES TO GUITAR MAKING

We believe in taking a flexible and evolving approach to instrument construction, repairs and customising. Every player we meet has unique requirements such as tonal quality, dynamics, playability and of course aesthetics and overall design.

Therefore each instrument we build is tailor made for the particular client. Our instruments are a culmination of traditional hand crafting techniques incorporating the utmost sensitivity to the musician’s demands.

Just as in nature there is endless variety, so too with timbers and performers! This apparently simple concept leads to the conclusion that with infinitely variable parameters there can be no fixed formulae. (Out went the moulds and fixed models!)

When a player places an order, the first part of the procedure is to involve him/her in the design, tonal characteristics, choice of woods, scale length, size, shape, decoration and finish. Whilst accommodating the wishes of the musician, we never lose sight of the prime objectives – tonal excellence and playability L. A. “They are without peers.” (Antonio Forcione )

GUITAR SETUPS ARTICLE

Most musicians are familiar with the term setup. They know their instruments sound and feel better after a setup. Ask any guitarist how much better their guitar feels and plays after a luthier has setup their guitar.

Essentially a guitar setup comprises various adjustments to the instrument to make it easier to play, more accurate, and produce a better tone. This applies to all instruments to some degree or other. With reference to stringed instruments, the most common adjustment is to the ‘action’.

Action refers to to how high or low strings are above the fingerboard or frets. Low action means the strings are close to the fingerboard, therefore less effort is needed so it is less tiring. It also allows faster playing and less likelihood of unclear notes since less pressure is required to hold them down. In order to achieve a low action it is critical that the surface the strings are pressed onto, is level. In the case of guitars this means adjacent frets should be the same height. Non fretted instruments such as violins and cellos, etc. should have no humps or dents in their fingerboards. A level surface is essential for low action and minimum string/fret buzz. Other factors enhancing low action are neck relief (a slight concave curvature of the neck along its length), string gauge, and style of playing

GUITAR STRINGING TIPS

Most musicians are familiar with the term setup. They know their instruments sound and feel better after a setup. Ask any guitarist how much better their guitar feels and plays after a luthier has setup their guitar.

Essentially a guitar setup comprises various adjustments to the instrument to make it easier to play, more accurate, and produce a better tone. This applies to all instruments to some degree or other. With reference to stringed instruments, the most common adjustment is to the ‘action’.

Action refers to to how high or low strings are above the fingerboard or frets. Low action means the strings are close to the fingerboard, therefore less effort is needed so it is less tiring. It also allows faster playing and less likelihood of unclear notes since less pressure is required to hold them down. In order to achieve a low action it is critical that the surface the strings are pressed onto, is level. In the case of guitars this means adjacent frets should be the same height. Non fretted instruments such as violins and cellos, etc. should have no humps or dents in their fingerboards. A level surface is essential for low action and minimum string/fret buzz. Other factors enhancing low action are neck relief (a slight concave curvature of the neck along its length), string gauge, and style of playing.

FRETTING ABOUT GUITAR FRETS?

Most musicians are familiar with the term setup. They know their instruments sound and feel better after a setup. Ask any guitarist how much better their guitar feels and plays after a luthier has setup their guitar.

Essentially a guitar setup comprises various adjustments to the instrument to make it easier to play, more accurate, and produce a better tone. This applies to all instruments to some degree or other. With reference to stringed instruments, the most common adjustment is to the ‘action’.

Action refers to to how high or low strings are above the fingerboard or frets. Low action means the strings are close to the fingerboard, therefore less effort is needed so it is less tiring. It also allows faster playing and less likelihood of unclear notes since less pressure is required to hold them down. In order to achieve a low action it is critical that the surface the strings are pressed onto, is level. In the case of guitars this means adjacent frets should be the same height. Non fretted instruments such as violins and cellos, etc. should have no humps or dents in their fingerboards. A level surface is essential for low action and minimum string/fret buzz. Other factors enhancing low action are neck relief (a slight concave curvature of the neck along its length), string gauge, and style of playing.

PICK UP SOME IDEAS ABOUT GUITAR PICKUPS

Most musicians are familiar with the term setup. They know their instruments sound and feel better after a setup. Ask any guitarist how much better their guitar feels and plays after a luthier has setup their guitar.

Essentially a guitar setup comprises various adjustments to the instrument to make it easier to play, more accurate, and produce a better tone. This applies to all instruments to some degree or other. With reference to stringed instruments, the most common adjustment is to the ‘action’.

Action refers to to how high or low strings are above the fingerboard or frets. Low action means the strings are close to the fingerboard, therefore less effort is needed so it is less tiring. It also allows faster playing and less likelihood of unclear notes since less pressure is required to hold them down. In order to achieve a low action it is critical that the surface the strings are pressed onto, is level. In the case of guitars this means adjacent frets should be the same height. Non fretted instruments such as violins and cellos, etc. should have no humps or dents in their fingerboards. A level surface is essential for low action and minimum string/fret buzz. Other factors enhancing low action are neck relief (a slight concave curvature of the neck along its length), string gauge, and style of playing.

PERFORMANCE GALLERY

Customer Reviews

If you have ever paid a visit to David Lipkin’s and Haim Algranati’s workshop in Barnet, you would immediately know that this is the place your musical instrument should be taken care of. Experience, dedication and love are the ingredients they inject in every job they undertake. I am fortunate enough to own an L.A. custom-made, beautiful-sounding, eight-string guitar named after my daughter, Maya. This was a great collaboration since they gave me a chance to explore on the design side, without losing sight of the most basic secrets of traditional guitar making. They are without peers.
“Antonio Forcione”