 Each Steel String Guitar I make has some common features but really... every instrument is different – the result of a process where each client and I talk (a lot) about choices of wood, scale length, inlay and other details until we come up with a personalized one-of-a-kind guitar. All my guitars come with a CALTON, custom-fitted fiberglass case. |
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The SMALL version is almost as small as a standard classical guitar and works best with a 12 fret neck. The MID-SIZE version is almost as big as a dreadnought in the widthsof the upper and lower bouts but not as deep (and with more rounded lines). The SEMI-JUMBO version is the same depth as the mid-size but larger in the other dimensions. The lower bout is 16 5/8 inches deep and very rounded. SCALE LENGTH: 650 mm (25.6 inches) or 640 mm (25.2 inches) |
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All Steel String Guitars have ebony bridge,fingerboard and body binding, a neck of tropical American mahogany, and a nut and saddle of bone. For the rest of the guitar... here are some of the more popular choices: Soundboard: Sitka Spruce (or... Western Red Cedar or Engelmann Spruce) Back and Sides: East Indian Rosewood (or... Brazilian Rosewood, Curly Koa, Curly Maple or Ziricote) Fingerboard binding: ebony (or ivoroid, etc.) Machine Heads: Schaller, chrome or gold finish (with buttons in variety of styles: ebony, mother of pearl, mammoth ivory, crank winders) |
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I create custom engraved inlay by request. All designs are original and no design is ever repeated. For many examples visit the INLAY GALLERY.
• "Armrest"
bevel on lower bout Other available models:
Acoustic Bass, in 4,5 or 6 string models, Baritone, details upon request.
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 I build only performance-level instruments (no student models). In the last 30 years I have also built 7, 8 and 10 string models, and though my standard scale length is currently 655mm., I have varied that from as short as 645mm to as long as 665mm. All my guitars come with a CALTON custom-fitted fiberglass case. |
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SCALE LENGTH: 655 mm (25.8 inches) or 650 mm (25.6 inches) |
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All Concert Classical guitars have ebony fingerboard and body binding, a bridge of Rosewood, with bone/ebony tieblock, a neck of Spanish Cedar reinforced with Carbon Graphite, and a nut and saddle of bone. For the rest of the guitar... here are some of the more popular choices: Soundboard: Western Red Cedar or Sitka Spruce (or... German Spruce) Back and Sides: East Indian Rosewood (or... Brazilian Rosewood, Curly Maple, Curly Koa) Machine Heads: Sloane (Waverly), hand-made Bronze cast, ebony buttons |
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I create custom engraved inlay by request. All designs are original and no design is ever repeated. For many examples visit the INLAY GALLERY.
• "Armrest"
bevel on lower bout
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 As with my all of my guitars, the only Flamencos I build are performance-level instruments. Over the years I have made equal numbers of the traditional cypres-bodied/friction pegged models as well as the Nagra, with or without a cutaway. All my guitars come with a CALTON custom-fitted fiberglass case. |
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SCALE LENGTH: 655 mm |
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All Flamenco Guitars have ebony fingerboard and body binding, a bridge of Rosewood, with bone/ebony tie-block, a neck of Spanish Cedar, and a nut and saddle of bone. For the rest of the guitar... here are some of the more popular choices: Soundboard: Western Red Cedar or Sitka Spruce Back and Sides: Spanish or Italian Cypres or East Indian Rosewood Tuners: Ebony Pegs, capped with Bone or Shell (or... Slotted headstock with Sloane Machines) |
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I create custom engraved inlay by request. All designs are original and no design is ever repeated. For many examples visit the INLAY GALLERY.
• "Armrest"
bevel on lower bout
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W I L L I A M L A S K I Ng u i t a r m a k e r since 1971 The first musical instrument maker to receive Canada's most prestigious national craft award, the Saidye Bronfman Award for Excellence Originator of the built-in "Armrest" and"Ribrest" edge bevelling A founder of the Association of Stringed Instrument Artisans (ASIA) and author of the first code of ethics for the luthier's trade
PROFILE OF WILLIAM LASKIN
William "Grit" Laskin decided he wanted to be a guitar maker at age 17 when he saw a Jean Larrivee instrument at the now defunct Toronto Folklore Center. "It
hadn't occurred to me before then that guitars were made by hand," he recalls. "I remember holding one of Jean's guitars and wondering how you could glue
two pieces of wood together and not have a visible glue line." He met Larrivee at a folk festival soon after and was taken on as an apprentice in 1971. During
his two-year apprenticeship, Laskin helped Larrivee complete more than 100 instruments, and his own reputation began to spread. By the time he struck out
on his own, he already had all the orders he could handle.
Today Laskin works alone in a spacious climate-controlled shop in the west end of Toronto. He builds between 12 and 14 guitars per year, roughly
two-thirds steel-string and a third classicals and flamencos, and sells them to players in England, Germany France and Japan, as well as Canada and the U.S.
His output is impressive considering how much time he spends creating intricate fingerboard inlays. Larry Robinson, author of The Art Of Inlay, extols Laskin
as "the most astonishing inlay artist in North America." Laskin's philosophy is that inlays are not simply visual appointments but artistic statements. "The
peghead and fingerboard are my canvas," he says. He painstakingly researches his subjects the same way a painter might, using live models, books and
photographs. Before creating his inlay of a hand releasing a dove, for example, Laskin studied the movement and shape of the human hand releasing a small
object as well as the way birds begin flight after their wings have been folded. "I also love breaking the nut barrier," Laskin says in reference to inlays that spill
over onto the first few frets. "But a guitar has to function as a musical tool first and foremost, otherwise the instrument is a failure."
Laskin has received accolades from prominent guitar makers such as Bob Taylor, Bill Collings, Bob Benedetto, Mark Campellone and Roger Sadowsky,
as well as players as diverse as Paco Pena and Rik Emmett. The Museum Of Civilization, Canada's equivalent to the Smithsonian, has four Laskin guitars in its
permanent collection, and in 1997 Laskin received Canada's prestigious national award, the Saidye Bronfman Award for Excellence In The Crafts.
The distinct sound of Laskin guitar is a result of myriad factors, but Laskin emphasizes the importance of the 90-degree X-brace and symmetrical bracing
[in conjunction with varying top-thicknesses]. "I think that because the market didn't require Canadian guitar makers to duplicate Martin or Gibson, we were able
to be a little more exploratory," he says. "Therefore a sound that isn't Martin or Gibson has evolved." Laskin says his sonic goal is "clarity, sweetness of tone,
and a full, round musicality".
After 30 years of building guitars, Laskin still gets a high from a clean chisel stroke, from designing an inlay that reflects the person destined to play that
guitar, or when seeing the delighted reaction of a customer who plays his new musical partner for the first time. "I want to build guitars until I drop," says Laskin.
And while his guitar-building mission continues, Laskin also finds the time to record and perform his own music (he has four albums to his credit), run folk
music label Borealis Records along with another partner, help coordinate a summer music camp, and contribute regularly to several trade magazines. He has
also written and published a novel, as well as a non-fiction book called The World Of Musical Instrument makers: A guided Tour (Mosaic Press). It's hard to
imagine a busier or more talented Renaissance man in the world of acoustic guitar.
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Laskin's most notable contributions to the evolution of acoustic guitars are his body beveling techniques, which help reduce players' stress and
soreness. The idea for the ArmrestŠ came from a classical player who asked Laskin to round off the purfling where his right arm rested against the guitar
because he found the sharp edge uncomfortable. Laskin later developed the RibrestŠ, a bevel on the upper back edge of the guitar, which makes it feel more
comfortable against the player's body.
DESIGN PROCESSPersonal Statement Of Approach The guitars I build, whether Steel-string, Flamenco or Classical, are constructed to be professional concert level instruments. When asked to summarize my "sound" I begin by describing it as "clear without being edgy" and as having what some players have described as "a mature, round, musicality". What they're describing is a richer, wider band of frequencies delivering a fuller sound while maintaining the essential properties of clarity, balance and power. If the above claims sound like hype, please check out the quotes from clients, elsewhere on this site. Though my clients are buying Laskin designs when they purchase, the variables within these designs are many. (And I'm always open to good new ideas!) In the end I become the "tailor" who customizes guitars in ways particular to each player. It is a role that gives me great pleasure. Acoustics, playability, physical shapes, ergonomic issues, rare materials, aesthetic appointments, inlay art - all are topics for discussion until details are confirmed to each of our satisfactions. Since my clients live around the globe, you can imagine my phone bills! With each of my instruments so customized and so specific to each client, my model sizes and alternate features are a bit more general that you would find from a larger producer or manufacturer. On this site each guitar type has its own area, within which you'll find a description of the "base" model specifications as well as listings of some of the more common "alternates". The engraved inlay art is always an original design - never repeated. As such, the selected samples on view throughout this site are shown to indicate what is possible and to help spark your own imagination.
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PRICES
Please call for the latest prices.
To secure a spot on my waiting list I require a deposit of 20% of the base
price. The BASE PRICE current at the time of ordering IS GUARANTEED, no
matter how long until delivery. Prices for custom features such as inlay
art, body bevels, alternate woods, etc. are subject to change at my
discretion. Base prices for instruments, custom features and alternate
woods available on request. I am reachable by phone, fax or email. I will
respond as quickly as I can.
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CONTACT
To contact William Laskin...
email: grit@williamlaskin.com
phone: 416.536.2135
fax: 416.533.8705
postal address:
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26 Noble Street, No. 12
Toronto, Ontario, Canada
M6K 2C9
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AUDIO SAMPLES
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VIDEO
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The Guitar Is My Canvas
In English...
En Français...
This film was made by The Museum Of Civilization in conjunction with my being awarded the
Saidye Bronfman Award For Excellence, in 1997. All recipients of the award are documented this way.
Ken Whiteley was brought into the film, at my suggestion, to represent the musical/musician portion of the
instrument-making equation.
(For those who may be unaware, this award, established by the Bronfman Family Foundation in 1976, is
Canada's most esteemed national award for Craft. Each year, a jury considers all craft disciplines,
from all regions of the country, and only one recipient is chosen. So far, I am the only instrument maker on the recipient list.)
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Luthier
56K modem: play or download | high speed: play or download
This short film was made way back in 1974 and released for TV broadcast in 1975. It was one of a series of short "filler" films the CBC commissioned of the 2 filmmakers. The director, Phyllis Wilson, was the wife of Graeme Ferguson, the (Canadian) man who invented the IMAX system. Dave Douglas, her filming partner, was involved in actually constructing the first Imax camera. Dave is still associated with IMAX as a director. "The Fires Of Kuwait" is one of his films.
The music in the background is an old instrumental piece of mine. We recorded it in the workshop. The shop I occupied from 1974-76 was previously a body-rub studio. Hence, the furry red wallpaper.
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NEWS
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TESTIMONIALS A Few Words From Players and Fans NEW "Grit, the guitar is the cat's whiskers! I'm amazed by the power you've managed to coax out of it. I've just been noodling in dropped-D and it's delivering a very rich bottom end. The neck is gorgeous and I'm getting that wonderfull smell every time I open the case (which is about every 5 minutes when I'm not playing). Thanks again for putting together my dream guitar and for the amazing artwork." -Thibaut Lefort NEW "The more I played that new guitar of yours, the more I realized that it is possibly the best sounding flattop I've ever played. Seriously. Thanks so much!!!" -David Wren, The Twelfth Fret Guitarists Pro-Shop, Toronto- NEW "Grit, I wanted you to know that I am just thrilled with the guitar. It has "duelled" against martins, a Collings and various others, and was a clear winner. It is just terrific. Very responsive, loud, full of character, absolutely beautiful when fingerpicked, and doesn't break up when flat-picked hard. You may recall that my wish was to have a guitar that could " do it all" -- I now do. I am just so impressed and pleased, and once again amazed at your talent. Thank you so much - it was easily worth the wait." -Mike Pedersen, London, Eng. NEW "I could not have imagined a more exquisite instrument. The inlay is perfect in every respect. I could not be more pleased. The guitar is likewise beyond what I had hoped for in tonality and comfort. It is simply a joy to listen to an play. Thank you for your advice on body size and wood choice. Please accept my humble thanks for a creation that has surpassed my highest expectations." -Edson Hirohata, Indonesia NEW "Just a quick line to thank you for a wonderful guitar. It's a steel-sting you made for my pal Carey, in 1976. He and I worked together , the year he ordered it, but I didn't get to see the guitar as I returned to school. many years later I saw the guitar for sale in a music shop and bought it immediately. Some good energy was happening that day. Anyhow, I've been playing it ever since and although it has a bit of cosmetic wear (don't we all) it just keeps sounding better and better. I'm sure you've heard lots of compliments before, but this guitar has helped me through the years like nothing else." -Rob Stark, Canada NEW "You're a genius. Absolutely amazing. You're brilliant. The workmanship--the whole thing. I'm unbelievably satisfied." -Craig Snyder, New York NEW "Just so beautiful on every level. I'm happy that I waited the years to get this treasure." -Jennifer Berezan, California NEW "Thank you, thank you, thank you! It looks, sound, plays great. Sound is just fantastic. It's a magnificent piece." -Benjamin Heuston, USA NEW "Thank you! Thank you! Thank you! Thank you! Thank you! It is wonderful, beautiful, and everything I could have wanted. And getting rave reviews from all who hear and play it. I couldn't be happier. I have blisters on my fingers..." -Kathryn Macdonald, Hamilton, ON NEW "I've had the pleasure and good fortune to have known Grit Laskin since 1976 when I ordered my first of three of his fine guitars. These guitars have been used constantly by me in my professional production work, my own recordings and on many jingles/records for other producers. No one gets to play them but me and they rarely leave my studio. They are simply the finest guitars I've ever played. Every engineer who hears them just leans over the console and smiles, as do I. they are not for sale at any price." -David Norris-Elye, Toronto The guitar is spectacular, the art work on the peghead and on the fingerboard certainly paint the story beautifully and uniquely as only you can do. Equally with the art work is the sound, it sounds unbelievable, exactly what I was looking for, a nylon string guitar for the steel-string player - perfection!! Thanks once more. -Michael Katz This really is a wonderful instrument; the voice is everything I could want and more, is so full and vibrant and has so much power, it's almost unbelievable.-John Knox Thanks for building me the finest guitar I have ever seen, heard or played. -Bobby Fowkes Thank you! Inspiring craftsmanship; it's beautiful; it's fun; it's mine and I'm proud to own it. -Bill Collings (Collings Guitars, Texas) You are truly an artist. An instrument that inspires so much musical beauty goes far beyond the realm of craft. -Bill Whiteacre You put things into my guitar that money cannot buy. -Marie Lyons It's the guitar of my dreams - but my dream life has never been this good! The thing almost plays itself. I sometimes wonder why it lets me hang around it. -James Keelaghan The lines are flawless... I owe you a great deal of thanks for producing such a fine instrument. -Steve Fulnecky Thank you for building such a superb instrument. It's an inspiration. -David Lindsay Thanks for a great Flamenco guitar. I performed with it 15 minutes after I got it. Excellent work! -Ottmar Liebert What I got exceeded my expectations. Not only is it a great guitar to play in all different styles - it's great for lead work, for rhythm, and the armrest will add years to my playing. Last, but by no means least, it's a gorgeous work of art that I use every day. -Ken Whiteley It is a beautiful and impressive instrument. I'm working hard to bring my playing to a level worthy of it. -Greg Fyffe I feel your steel-string is the finest example of acoustic perfection and workmanship the world has to offer. -Scott Moulton I'm delighted. The changes in sound that you said would happen have happened and it boggles the mind that the guitar will come to sound even better. I feel privileged to own one of your instruments. -Richard Grice Aided only by his naked eye and steady hand, Grit tackles projects that would be a challenge even with computer-driven machinery. He has set a demanding standard for luthiery and single-handedly elevated inlay from mere decorative embellishment to conceptual art. -Larry Sifel (Pearlworks, MD) I bought one of your guitars in 1980 and it just keeps getting better! -John McDale Thank you for building such a magnificent guitar for me! The workmanship is pure art; the action and sound simply incredible! -Larry Larrison Wanted you to know how impressive we think your inlay work is. Gorgeous! -Bob and Cindy Benedetto (Benedetto Guitars, New York) ...on Grit Laskin's design for a right arm rest, the 'Laskin Rest,' Grit's got it just about right. It is my hope that this option will become the NON cutting-edge in acoustic guitar-making. Hats off to Grit Laskin! -Richard Norris, M.D. (Director, National Arts Medicine Centre, Bethesda, MD) This is the Luciano Pavoratti of guitars. The sound is angelic - like nothing we have heard. A joy to see and a symphony for the senses. -Mandolin Brothers Ltd, Staten Island, NY It's always a pleasure to hold your work. It's wonderful seeing flawless craftsmanship, visual balance, and tasteful design. -Richard Hamilton Breathtaking! Unique! Imaginative! Exquisite! -Guitar Gallerie, Washington I felt I was in the presence of a 'Grand Master' who loves his work as a guitarmaker and a creator of art. -Ron Gray ...the extraordinary Grit Laskin [is] a talented guitar builder and creator of some of the most incredible inlay ever to grace a fingerboard. -Elderly Instruments, Lansing, MI #1 quality guitar! Best! Amazingly perfect balanced guitar. -Hiroki Niibori (Niibori Guitar Academies, Niibori Guitar Orchestras, Tokyo) You are the best of the best. -Ken Donnell He makes wonderful guitars - my highest compliments. -Beppe Gambetta Your craftsmanship and mastery are a great pleasure and source of tremendous enjoyment. -Mark Kalish William Laskin guitars defy comparison in the same way a Rolls Royce does. -Jim Krueger The first 6-string, obtained in 1983, continues to dazzle me with its purity of tone, reassuring accuracy, and sheer beauty. -Curly Boy Stubbs (Paul Mills) The outstanding quality of William Laskin's workmanship, the refinement of the inlays, the overall aesthetics of the instrument are remarkable. -Carmelle Begin (curator, Canadian Museum of Civilization, Ottawa, ON) Oo-la-la, what a guitar! -Sally Rogers Thank you for making such a wonderful instrument. -Rik Emmett It has been a privilege to have been able to play a small part in what I feel has resulted in the finest Canadian-made Flamenco guitars, if not one of the finest in the world. William Laskin succeeded where all other Canadian guitarmakers failed. He is a rare talent. -David Phillips (Director, Flamenco Guitar School, Toronto) This is the finest instrument I have played in all my travels. -Paco Pena He is one of the few guitarmakers in the world who is capable of making equally excellent steel-string guitars and classical guitars. And Grit is solely responsible for a 'quantum leap' in the artistic application of inlay to guitars. -Roger Sadowsky (Sadowsky Guitars, New York, NY) ...as tasteful and superb sounding as the best classical guitar we have ever heard. A truly superlative instrument in every respect. -Mandolin Brothers Ltd. The tone is clear, clean, and punchy. The sound is extremely even throughout the entire tonal register. This is the rare instrument that when caressed will sing sweetly, but when played hard will roar without flinching. The search for the perfect 6-string starts to feel like the search for the Holy grail. Don't know if I've found it, but this is the closest that I expect to come. -Tom Chapin One of the most astonishing inlay artists in North America. -Larry Robinson (Author, The Art of Inlay, San Francisco, CA, 1994) At the heart of his activity is his most important contribution of all: his beautiful and supremely musical guitars. -Susan Warner Keene You're definitely a Master. -Mark Campellone (Campellone Guitars) During his career, Laskin has produced over 550 guitars of astonishing visual quality and superb musicality. His instruments are played in concert halls and recording studios around the world. For 27 years, Laskin has contributed to the centuries-old tradition of guitarmaking not only by preserving time-honoured techniques but by adding to them with innovative solutions to acoustic and ergonomic challenges. In addition, Laskin endows his instruments with a powerful visual presence. His imagery, rendered masterfully in engraved inlay, reflects highly personal narrative, embued with wit and drama. -1997 Saidye Bronfman Award for Excellence in Craft, selection committee Astounding. Beyond expectations. -Rich Pote There are no other guitars like yours that I've been able to find anywhere on the planet, at any price. I am constantly amazed at the rich tone and voice each one of your guitars have. You're an artist. -Teddy Stephenson ...And by the way, it's pretty hard to supersede a Laskin guitar. -Bob Taylor (Taylor Guitar Company, CA)
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LINKS Borealis Recording Company Borealis is Canada's National Folk Music label, with a fast-growing roster of eclectic artists from all regions of the country. Also on this site you can also obtain info. on my performing and recording. The 12th Fret Home of Toronto's best guitar store. A great site, that has additions every day. Linda Manzer Guitars A great builder, known for her arch-tops as well as for unusual custom instruments. Pearl Works Home of the company that single-handedly invented the processes of computer-guided inlay in guitars. Northern Journey The most comprehensive "hub" for all kinds of Canadian folk music information. Acoustic Guitar Magazine The best and most senior of a crop of magazines dedicated to acoustic guitars and guitar playing. The editorial staff knows their stuff and provides good coverage of makers. Larry Robinson Home of Larry Robinson, author of the best books and videos on inlay techniques. He also does wonderful and elaborate custom inlay work, by commission. |