Randall "Sparky" Kramer is, as Ric12String has posted, a luthier based in Truckee.
http://www.randallkramerguitars.com/
His Saturday afternoon presentation on guitar setup, though guinea-pigged on an acoustic (an early 50s Gretsch), provided an excellent overview of the subject for any guitarist.
In particular, he was specific and emphatic about the order of operations: first you get the nut right, then proceed to truss rod and relief, and finish up with the bridge. Each adjustment builds on the other. Sparky provided his rule-of-thumb numbers for string height above frets on each side of the fingerboard for each location along the neck; he also discussed shimming, cutting, slotting, and gluing a nut; when you need fretwork, and how much you need, tricks for freeing stuck trussrod nuts, and a short evaluation of intonation issues.
This wasn't new information for everyone - but a review of basics is always in order. In every part of every job I do, I find that getting the basics right is 80% of the job, and more compellingly, that you CAN'T get the last 20% if the basics aren't in place. It's worth emphasizing.
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You see that beautiful mandolin? It's a Gretsch New Yorker, with the logo relief-carved into the headstock. Sparky and Fred figured it for early 50s. Spruce top, mahogany back and sides, lovely sunburst, in superb condition – and Sparky had it set up as sweetly as any mando I've ever picked up.
And you know what then? Sparky GAVE it to Fred as a gift for the Gretsch museum.
Sparky makes stunning acoustic guitars, of the next-level frankly expensive variety. A selection of them were on display in the lodge's cozy library, and I took half an hour or so to talk with Sparky and play the instruments. He was curious about my acoustic guitar needs, desires, and habits, and slowly honed in on which of his guitars would suit me – not only through conversation, but by listening to me play.
I have no doubt that, if I had him build me a guitar, he wouldn't start till he understood thoroughly exactly what kind of instrument I'm really after – whether I could identify it or not. That's what custom luthiery ought to be about, of course. Every builder has particular styles and practices, but a really great luthier understands the customer, is clear and articulate in communicating with him, and builds a guitar to suit.
Sparky's luthiery grew out of both an interest in mechanics, and in the demanding techniques of classic woodworking and custom cabinet craft. He was an amateur and performing guitarist all along, and eventually his worlds of interest came together.
I found the guitars rich and balanced in tone - bigger-sounding than Taylors, not as boomy as big Martins, with a clear present midrange and crisp but not overly delicate treble. I know I'm playing a great acoustic when it brings out parts I can't quite execute perfectly, and when it makes me sound better than I know I am.
Sparky's boxes did the trick, and if I was ever in the market for a custom acoustic, I'd surely give him a call.
It was a real pleasure to meet and get acquainted with Sparky.
With apologies for the poor lighting and worse photography, some Randall Kramers. (Note the profusion of slope-shoulders, and the 12th-fret join. Good stuff!)
