Design Options
The materials, details, and structural choices that shape your instrument.
The Heart and Soul: The Woods
The materials that define tone, feel, and character.
Rosettes are one of the most expressive visual elements on a guitar, and I approach them as part of the instrument’s overall design language rather than decoration. Over the years I’ve created a wide range of patterns — from simple wood rings to more contemporary geometric designs — each built with clean lines, intentional proportions, and materials chosen to complement the guitar’s voice and aesthetic.
Tops
Most Osthoff guitars receive a spruce top — chosen for its stiffness‑to‑weight ratio and its long history as the standard soundboard material. Without going into a deep dive, I keep a range of spruces on hand, including Italian, European, Carpathian, Engelmann, Adirondack, Lutz, Sitka, and Moonspruce.
Cedar and redwood are also available for players looking for a different response. And while walnut, mahogany, and koa are more commonly used for back and sides, they can make exceptional top woods when the design calls for it. I’ve built many guitars with koa tops over the years, and they can be wonderfully responsive and musical.
A few years ago, I acquired more than 2,000 sets of Sitka. In the photo to the right, you can see just a small portion of it — enough to completely take over my music studio for a while.
Back and Sides
If the top is the engine, the back and sides are the character — shaping overtones, warmth, and projection. Mahogany and rosewood remain the classics, but I use a wide range of tonewoods when the right set presents itself. Beautiful figure is always welcome, but never at the expense of sound.
Even within a single species, wood can vary dramatically — as shown by the four sets of Brazilian rosewood pictured here. Grain, color, density, and tap tone all shift from set to set, which is why selecting the right back and sides is always a hands‑on, ear‑driven process.
I keep a good stash of back and side sets on hand — everything from the plainest, most honest mahogany to a wide range of exotics. I even still have a few sets of the famed “Tree.”
Fingerboards
Ebony has long been the standard for fingerboards — dense, stable, and naturally smooth under the hand. Its hardness resists wear, its tight grain stays true over time, and its dark, uniform color gives the instrument a clean, classic look. Most of the ebony used in modern lutherie comes from Africa and parts of Asia, where it has been prized for centuries in both instrument making and fine craft.
I usually use ebony, but African Blackwood is my personal favorite. It’s even denser and more resonant, with a glassy feel and a subtle musicality that shows up in the right hands. Both woods make excellent fingerboards; the choice comes down to the character you want and the way the instrument is voiced.
Bindings, Purflings & Appointments
I use a wide range of woods, shell, and celluloid for bindings, purflings, and inlay work. Most bindings are wood, but I’ve been enjoying celluloid lately for the subtle vintage character it brings. Purflings can be as simple as a black‑white‑black line or built from more complex combinations. I’ve also been incorporating recon stone into purfling work — challenging to bend for the sides, but the effect is worth it.
Pictured here is a “Tiger Tail” rosette with a subtle gradient made from four different woods: African Blackwood for the dark base, Chakte Viga for the yellow‑orange, Peroba Rosa for the deeper orange, and Padauk for the red‑orange. These small details are where the instrument’s personality really comes forward.
Rosettes
Visual elements that define the guitar’s character.
Rosettes are one of the most expressive visual elements on a guitar, and I approach them as part of the instrument’s overall design language rather than decoration. Over the years I’ve created a wide range of patterns — from simple wood rings to more contemporary geometric designs — each built with clean lines, intentional proportions, and materials chosen to complement the guitar’s voice and aesthetic.
Headstocks
Distinct Silhouettes, One Design Language
Each headstock shape brings its own character — from traditional outlines to more modern profiles — offering players a range of aesthetics without changing the core feel of the instrument. Whether you prefer something classic, contemporary, or subtly expressive, the design is always intentional and built to complement the guitar it belongs to.
Other Design Elements
Other choices that shape the feel of the instrument
Beyond the major wood selections, rosette and heastock, a guitar is defined by dozens of quieter decisions — finishes, hardware, inlay materials, cutaway styles, and the small appointments that bring everything together. This section offers a brief look at some of those elements. It’s not a full catalog yet, but a starting point that reflects the details I consider when shaping the feel, playability, and personality of each instrument.
Finish
Most of my guitars receive a urethane finish, chosen for its durability and the protection it provides without adding unnecessary weight. The Vintage Series — and some Custom Series builds — are finished in nitrocellulose lacquer for players who prefer the traditional look and feel. No finish is perfect, but all of them are applied lightly to let the instrument breathe and respond. Sunbursts are also available for those who want a classic aesthetic.
In the example shown, a custom D‑18–style build was requested with a tinted top to match one of the customer’s guitars at home. We worked from reference photos and arrived at a very close match — subtle, warm, and true to the character of the original instrument.
Playability & Setup
I offer a range of setup options to tailor the guitar to the player. Compensated nuts and saddles are standard, and each instrument is dialed in with a strobe tuner for precise intonation. Custom nut widths and bridge‑pin string spacing are available for players who want a specific feel. Fretwork can be done in EVO gold or stainless steel, depending on the player’s preference for tone, longevity, and touch.
Inlay Work
Ebony has long been the standard for fingerboards — dense, stable, and naturally smooth under the hand. Its hardness resists wear, its tight grain stays true over time, and its dark, uniform color gives the instrument a clean, classic look. Most of the ebony used in modern lutherie comes from Africa and parts of Asia, where it has been prized for centuries in both instrument making and fine craft.
I usually use ebony, but African Blackwood is my personal favorite. It’s even denser and more resonant, with a glassy feel and a subtle musicality that shows up in the right hands. Both woods make excellent fingerboards; the choice comes down to the character you want and the way the instrument is voiced.
Bindings, Purflings & Appointments
I offer a full range of inlay options, from traditional dots and diamonds to fully custom designs. Materials include mother of pearl, abalone, recon stone, and a variety of woods, each chosen for its color, clarity, and character. More examples of my inlay work will be added as the site grows, but custom requests are always welcome.
Shown here is a headstock featuring turquoise recon stone used for the inlay, purfling, and even the custom tuner buttons I made for this build. A red recon stone accent is also worked in alongside carefully fitted wood inlays, all set into an African Blackwood headplate. And although the stealth truss‑rod cover is designed to disappear, you can just make out its outline in the right light.
Cutaway Options
I offer several cutaway styles depending on the player’s preference and the design of the instrument. The standard options are the Venetian cutaway, with its smooth curved line, and the Florentine cutaway, which features a sharper, more pointed profile. I also build the asymmetrical 12‑15 and 13‑16 cutaways offered in the Custom Series, along with a custom scoop option for players who want upper‑fret access without a traditional cutaway shape.
The photo shows an SJ model built in Crelicam ebony, paired with a Macassar ebony scoop. The contrast between the two ebonies gives the cutaway a subtle visual lift while keeping the overall look unified and modern.
Arm Bevel and Wedges
I offer several ergonomic options to make the guitar more comfortable without disrupting its lines. My arm bevel is inspired by my friend Kevin Ryan, whose approach blends the top and side outlines with a symmetry that feels natural and intentional. I call my version the “Ryan Bevel,” a nod to his influence. For players who want additional comfort, I also offer a body wedge where the treble side is slightly narrower than the bass side — a design credited to my friend Linda Manzer. Both features enhance playability while keeping the instrument’s silhouette clean and balanced.
Tuning Machines
Most of my guitars are fitted with Gotoh 510 tuners, which I’ve found to be exceptionally smooth, precise, and reliably built. They’re excellent for players who use alternate tunings, offering quick, accurate adjustments without any fuss. I occasionally make custom buttons for the 510s as well. I also use Waverly tuning machines, especially on my Classic Paddle headstocks, where their traditional look and feel are a perfect match. Many tuner options are available depending on the model and aesthetic — just ask.
Shown in the photo are two examples of custom tuner buttons I made, designs I call Molten Metal and Gold Rush. They’re crafted from reconstituted stone and shaped to fit Gotoh 510 tuners, adding a unique color and texture that standard buttons simply can’t offer.
More Options & Custom Details
There are far more options available than I can list here — custom bridges, custom scale lengths, unique appointments, and plenty of details I’m probably forgetting in the moment. I’ve never been one to lock myself into a strict visual theme; while my guitars share an unmistakable Osthoff voice, I tend to wander creatively rather than follow a formula. It may not be the strongest marketing strategy, but it’s the beauty of being a custom builder: I get to explore ideas, respond to each instrument, and build what feels right.
The photo shows a section of my roller‑chain purfling — a fully hand‑made pattern built from individual pins and links that I shaped and assembled one piece at a time. It’s an absurd amount of work for a detail most people will never notice, but that’s the fun of it. I may be a little nuts, but these small, obsessive touches are part of what make custom building worth doing.
