LG Series 1, Episode 1 — by Todd Lunneborg
An intro and, “Getting ready for the Fretboard Summit, 2026.”
Hello there, Todd Lunneborg here. Ian has asked me to start writing regularly for the Looth Group Website. Sweet. I’ve got 10 minutes, sounds fun!
I am, like you, completely down the rabbit hole of all things guitar. For those that don’t know me I am 48 and for the last 35 years I have been a builder, tour tech, journalist, repair tech, and my favorite era: a shop assistant. I’m gonna give you the full background and jump right in.
I started as a repair apprentice when I was 13 at a mom and pop Fender, Gibson, and Martin dealer in Alexandria Minnesota. In college I started booking bands and publishing my own music magazine on campus as a freshman. By the end of sophomore year I created my own major (fingerstyle guitar performance & journalism) and had worked my way into the Minneapolis (Minnesota) music scene as a live show guitar tech.
In the years following college I teched for local and global bands. I worked all the festivals and TV shows you might expect to see live bands playing music. In between shows I was running a private shop for setups, restorations, and custom builds. Depending on the era I had as many as 2 apprentices and one additional builder (Drew) working in the shop. When I was at my busiest I was the on-call tech for First Avenue, the Target Center (the arena across the street), and 3 MPLS studios. I was also building 6 – 22 instruments a year. It was a hustle.
I started writing for the Fretboard Journal in the Winter 2006, Issue 4 and have been one of the longest regular contributing writers. I’ve showed guitars at Healsburg, Newport Miami, and Headstock Guitar Lovers Guitar festivals.
In 2008 and 2009 I taught two “How to Build an Acoustic Guitar” classes to 22 students at Woodcraft in Bloomington MN.
As a builder and “all things guitar” addict I’ve talked my way into being mentored by Jim Olson, Charlie Hoffman, Michael Keller, Brian Applegate, Bryan Galloup, Sam Guidry, Ron Tracy, Michelle Beardsley, and Jason Verlinde. All of whom have set the standard for my work and perspective as a maker, restorer, writer, and overall fan of the guitar.
In 2010 I worked in Jim Olson’s shop as an assistant doing small things for a batch of 46 guitars. My pal and one time shopmate Drew Heinonen worked in Jim’s shop just after me, 2011–2012.
In 2019 I helped to process a bunch of President Carter’s trees. I helped mill, dry, and resaw the wood. I then asked a bunch of my peers and heroes to turn that wood into guitars and ukuleles.
Anyhoo, as you can tell I’m thoroughly down the rabbit hole, and I’ve done my best to see how far I can go in EVERY direction. Since my whiskers are starting to get gray, and I’ve got a good head start mapping these tunnels out, Ian’s ask to start writing here has helped to solidify the feeling that it’s time to start giving back. Hopefully some of the things I’ll share will be of interest to you, and if not, at least you’ll get an honest view through a window to look in on my lifelong obsession with everything guitar.
Prepping for the Fretboard Summit
Ian asked me to start off talking about how I’m prepping for the 2026 Fretboard Summit.
I’ve shown guitars at the Fretboard Summit at the Old Town School of Folk Music in Chicago three previous times. The Journal has hosted Summits in various locations but for the last four years it’s been in Chicago. I’ve been to 6 Fretboard Summits overall. I have the 5 timers belt buckle to prove it. 😉 While there, I also introduce speakers, moderate panels, MC giveaways from stage, carry t-shirt boxes, tools, amps and guitars from cars to tables for all, and (my favorite part) I MC the Pinewood Derby!
The Summit is a highlight for me every year. I’m currently building a batch of 6 guitars. 4 are customer orders and the other 2 I’m building on spec. I reserved a full table at the Summit for $700 but I’m not sure how I want to use it. 4 guitars on a table is ok, but to me it’s a ½ guitar too many. I need to decide what I want my table story to be.
Do I show the fanciest things I can build? Maybe not. Honestly, I’ve been there and done that. Every time I do it brings people to the table but no one wants to touch the guitars, much less play or buy them. “They’re too nice. I don’t want to scratch them,” they say. I’ve found that guitars that are too concept heavy, or too ornately adorned, can be too customer specific and as a result, off putting to most players. They make for great show pieces but not high percentage sales.
Guitars in the batch that are fancy: 100–102.
Do I take the available guitars and show those? Sure. Seems logical, right? Problem is, I picked some of my favorite weird sets of wood to build from. One is just ugly, but it’s complete in my head when I look at it in the raw. That’s a problem of mine. I’ve spent years paying myself in material and I only build guitars that are complete pictures in my head. It’s a compulsion I think. We’ll see. I’m sure there will be more on what my table story will be in the articles to come.
Guitars that are Ugly: 103.
Guitars: 104 & 105 are average “Standard” builds.
I had to change my Fretboard Summit AirBnB. I booked a single studio apt for the weekend but I just accepted a new apprentice who will be starting after their guitar making school graduation in May/June(?). So I canceled my studio rental and booked a double. I’ve had multiple apprentices in the shop over the years, 26 men and 2 women. Only 3 have completed my 40 guitars or 3 years, whichever comes first, program. Only 1 of those 3 is still working in the guitar industry.
I have a lengthy apprenticeship agreement (contract) with clear requirements, expectations, injury and liability waivers, intellectual property credit process and payment options that I’ll share here in the future. I’m making the Fretboard Summit part of their apprenticeship. While prepping for their start I’ve requested and confirmed interviews with three of my peers who I know have lessons about their own apprenticeships and career journeys for both of us to learn from.
2026 Batch 1 — The Builds
Back to the builds: 2026 Batch 1. Here’s photos of the batch as an update for this week.
100: Hoffman Dream Concert. My 100th acoustic, 162nd build overall. It’s a tribute to Charlie Hoffman who passed away just over a year ago. Charlie was a Minnesota guitarmaking touch point, brilliant mind, prolific bloviator, and my mentor. I got permission, and the body mold, for Charlie’s Dream Concert shape from Charlie’s son Gabriel (Gabe) along with permission to build one of his dad’s guitars. Charlie didn’t like the modified Concert body shape so much, but I adored it.
I’ve owned 4 Hoffmans in my life, a Slope D, a Dreadnaught, and 2 Jumbos. I still have 1 Hoffman Jumbo. The Dream Concert shape was the one I always hoped to commission before Charlie retired, but I moved away to Georgia and Charlie’s health changed before I realised that I was too late. I’ll be building my #100th acoustic for Charlie with his favorite woods: A Bearclaw Sitka Spruce Top. Master Grade Flame Koa back and sides, and Brazilian Rosewood, Headplate, Fretboard, and Bridge.
Larry Robinson inlaid Charlie’s signature leaf and stem inlays one last time as a tribute. Larry did it, “The way I had done so many times before, mother of pearl stems and abalone leaves.” It’s going to be beautiful. Cheers to Charlie.
101: Model SC. Sitka Spruce and Brazilian everything else. For my daughter, the first twin. I’m building two guitars from my family flitch for my kids to have something their dad made. I bought 28 sets of Brazilian Rosewood from Jim Olson and I’ve kept 7 flitch matched sets for myself and my family. I’m inlaying it with Martin 45 style inlays and a matching OM pickguard inlay. Ornate rays out Rosette. Sides are Bent and Blocked.
102: Model O. Cedar top and Brazilian everything else. For my son, the second twin. The second of two guitars from the family flitch for my kids to have something their dad made. Inlaying it with Martin 45 inlays and a matching OM pickguard inlay. Ornate rays out Rosette. Sides are Bent and Blocked.
103: Model C. My small short scale concert (couch buddy) guitar. Ugly Cedar top and Madagascar Rosewood everything. Arm bevel experiments. Rays out Rosette. Sides are Bent and Blocked.
104: Model O. Carter Bearclaw Top. Indian Rosewood. Rays out rosette. Arm bevel experiments. Sides are Bent and Blocked.
105: Hoffman Dream Concert. Cedar Top. Indian Rosewood. Rays out rosette. Koa Binding. Arm Bevel experiments.
I plan on making these essays more guitar project, process, design, shop work orientated, and I’ll add a side quest here and there too – I promise. For now, hello from the rabbit hole here in Minnesota and thanks for the chance to be an additive factor here on the Looth Group!
Next Week: Olson Side Molds.
Thanks for the chance to introduce myself. It’s time to get my hustle back on and start making some necks, braces, kerfing, and building my shop/collection display cabinet. Be sure to check in, say hello and have a great week in the shop!
Cheers,
Todd
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