Swisher Guitars: “Proper preparation is the key to a flawless finish”

In our Luthier Interview Series we dive into the world of electric guitar craftsmanship with the experts who bring these instruments to life. This time, we feature an interview with Michael Swisher from Swisher Guitars.

From modifying Telecasters to assembling metalhead-ready Partscasters to building his own custom guitars, over the years, luthier Michael Swisher has developed a deep knowledge of the art of guitar building.

The man from San Tan Valley, Arizona, shares his insights and background with FretboardFrenzy.com in this more than interesting interview.

Let’s dive in!

You’ve been a guitar player since age 10. What aspects of modifying existing guitars led you to leap full guitar building?

My guitar of choice has always been a Telecaster, but as a metalhead, I would modify them to suit my style. I’d swap in a humbucker, sometimes change the neck, or rework the electronics.

Often, I’d remove the tone control entirely, replacing it with two volume knobs. Over the years, I bought quite a few Telecasters and kept experimenting with modifications.

About 14 years ago, I came across some Telecaster templates being sold by a guy named Ron Kirn. Intrigued, I thought I could try making my own guitar bodies using the right type of wood.

I picked up a set of his templates and started doing some research.

That’s when I discovered the TDPRI forum (Telecaster Discussion Page Reissue), where Ron Kirn was an active contributor.

The forum was a goldmine of information on guitar building, and it inspired me to evolve from assembling partscasters to crafting as much of the guitar as I could on my own.

At the time, I think I convinced myself it would be a cheaper approach, but what really excited me was the idea of routing a humbucker cavity without altering the existing Telecaster bridge pickup route.

You mention learning everything from online forums and YouTube videos rather than formal training. What type of online resources proved most valuable in your journey?

In the beginning, I learned the most from the TDPRI forum. There’s a section called the Tele Home Depot, which also includes a tool forum.

It featured posts on creating jigs for things like making a neck pocket or shaping a neck, as well as guides for crafting templates for just about anything you’d need.

One thread even included full-sized guitar plans, which I downloaded extensively and still have today.

Eventually, I came across a post explaining how to create your own drawings using Inkscape. That was a game-changer for me, and now I rely on Inkscape for almost everything.

While the forum was an incredible starting point, it required a lot of reading and digging to sift through all the information.

To supplement that, I turned to YouTube, where I found a wealth of great video tutorials. The Highline Guitars channel stood out as the best resource.

It’s packed with valuable information, and I got tons of great ideas from watching those videos. Seeing the process unfold on video made it much easier to understand than just reading about it.

You mention making your own templates early on. How has your template design process evolved over your first 15 builds?

I still create all my templates from scratch. Since I don’t own a CNC machine, I cut bodies and necks with a bandsaw and hand-route the cavities and neck pockets. Some of my original templates are still in use, but I’ve updated several over time.

My process typically starts with designing the shape in Inkscape, printing it out, gluing it to MDF, and then routing the material to form the template. To extend the lifespan of my templates, I coat the edges with CA glue, which hardens them.

For straight lines, I often use scrap pieces and a pattern bit to keep things precise.

In the past, I used fixed neck pocket templates, which meant I needed a separate one for every neck type— bass, 21 fret, 22 fret, and so on. Now, I’ve streamlined the process by using three straight-edge MDF pieces.

I align the neck on the body, position the MDF pieces snugly against the neck, and temporarily hold them in place with masking tape and CA glue.

This allows me to route a neck pocket and then easily remove the pieces. The same set works for any neck pocket I need to create, making the process far more versatile.

Your super strat model, The Machine, is described as your flagship. Could you tell us what specific design elements make it so symmetrical and well-balanced?

I’m not really into offset guitars. While they’re undeniably popular and seem to be gaining more traction in the market, I personally prefer a symmetrical design where both sides are evenly shaped.

The Machine, for example, is more of a classic superstrat — reminiscent of a JEM — but with some unique twists.

The upper bout is slightly extended, which improves balance and makes it more comfortable to play, especially when using a strap.

Meanwhile, the lower bout features a sharp curl near the fretboard, making it much easier to access the highest frets. Additionally, the bottom edge near the bridge is completely flat, giving it a clean and functional aesthetic.

You mention making bodies and necks by hand. What specific challenges did you encounter when first learning these processes?

Early on, I switched from using templates and routing around bodies to sanding the sides to a line instead.

I was running into issues with tear-out while routing, so I started using the belt section of my oscillating spindle sander.

Taking a bit of extra time with this method eliminated mistakes and gave me cleaner results. While advancements in router bits have been made — like the Infinity bit I have now, which would likely prevent tear-out—my current process works perfectly, so I see no need to change it.

When it comes to necks, I do route the sides to match a template. However, once the fretboard is glued down, I transition to shaping the neck by hand.

I start with a Shinto saw rasp and some files, using the facet method to carve. This involves angling the sides, then shaping the back, and finally blending and refining the entire neck.

I carefully check and measure throughout the process to ensure everything is just right.

When I first started, I made four practice necks out of pine to get comfortable with the technique before tackling my first prototype.

That hands-on practice was invaluable for building confidence and refining my skills.

When it comes to finishes, how do you approach the different options – natural wood tones, stains, bursts, and opaque colors?

I typically work on one guitar at a time, which allows me to dedicate my full attention to every detail of the build, especially the finishing process.

Regardless of the type of finish I’m applying, I always take my time to ensure the best results. Prep work is crucial—proper preparation is the key to a flawless finish.

When I’m not using stain, I like to start with Z-Poxy as a grain filler, which does an excellent job of filling pores and leveling the surface.

After that, I apply a few coats of sanding sealer, letting each coat dry thoroughly before sanding it flat to create a smooth, even surface for the next steps.

For the actual finish, I prefer working with water-based polyurethane because of its durability, ease of use, and environmentally friendly nature. If color is involved, I enjoy mixing my own to achieve unique and custom tones.

For opaque finishes, I use Mixol tints, which provide vibrant and consistent results. For translucent finishes, I rely on Transtint dyes, which allow the natural grain of the wood to show through beautifully.

This methodical approach ensures a high-quality finish every time, whether the guitar ends up with a sleek, solid color or a rich, translucent look that highlights the beauty of the wood beneath.

You design your own tools when standard ones don’t suffice. Could you share an example of a tool you’ve had to create?

When I first started, I couldn’t afford a fret-slotting setup like the ones sold by top luthier supply companies, so I built my own. Those commercial setups typically include a miter box, saw, and separate slotting templates for various scale lengths.

To save money, I made my own miter box and designed a few scale-length templates using Inkscape. I printed the templates, glued them onto 3-inch poplar hobby boards, and cut the slots.

Then, I flipped the boards over and attached a razor blade to the miter box for indexing.

To cut slots in a fretboard, I attach it to the back of the poplar board and move the board, aligning each slot with the razor blade as a guide.

This system has served me well and continues to work perfectly, so I’ve seen no reason to replace it. Plus, because I can design any scale length with this method, I’m able to offer customers virtually any scale length they desire.

What specific questions do you ask clients to ensure their guitar setup matches their playing style?

I always start by asking about a player’s style—what type of music they play and whether they use picking or fingerstyle techniques.

When I take on repairs, I often ask customers to demonstrate their playing style if possible, which gives me a better sense of their preferences.

I make a point to discuss their expectations for action, string height, and any concerns about string buzz. I also ask how they tune and offer suggestions when I see opportunities to improve their setup or enhance their playing experience.

During the 2-4 month build process, how do you structure your communication and updates with clients?

For a custom build, I maintain constant communication with my clients to ensure they’re involved and informed throughout the process.

I provide daily updates with pictures of the progress so they can see how their guitar is coming together step by step.

If there are any unexpected delays, such as backordered parts, I notify them immediately and keep them updated on the timeline.

I’m always available to answer questions, whether it’s about the build itself, the materials, or the process. If a client wants to make adjustments or changes, I do my best to accommodate them on the fly, provided it doesn’t compromise the build’s integrity.

Could you tell us about managing client expectations when they request last-minute adjustments?

I always make it a point to discuss flexibility upfront—I’m open to making changes at any stage of the build. That said, there are certain aspects where changes aren’t possible once we’ve passed a certain stage.

For example, we can’t adjust the scale length or undo a routed pickup cavity. Starting over is always an option, but it may involve additional costs.

On the other hand, changes to hardware or pickups are no problem at all, and I’m happy to accommodate those adjustments whenever needed. Clear communication helps ensure everything stays aligned with the client’s vision.

Your pricing starts at $2,975 for custom builds. What factors typically influence the final price beyond the base cost?

Certain materials and components can increase the cost of a build, such as exotic woods with high price tags or specialty bridges and tuners that exceed $250.

Additionally, as we’ve discussed, any last-minute changes made after reaching the point of no return in the build process can also impact the final price.

That said, I always provide a detailed quote based on our initial discussions before beginning the project, so there are no surprises.

Let’s discuss your pickup winding. You have two winders. How do they differ in purpose?

I built both a hand-guided winder and a CNC winder, though these days I exclusively use the CNC machine unless there’s a specific request for a hand-wound pickup.

The CNC winder is incredibly versatile, capable of handling any type of wind on any bobbin. Programming it is straightforward, allowing me to replicate a scatter-wound effect or set it for a consistent, even wind at a fixed speed and traverse.

Using the hand-guided winder required a lot of practice and patience to achieve the right tension and an even wind shape on the bobbin.

The CNC winder was designed to automate those skills and produce even better pickups.

When replicating a scatter-wound pickup on the CNC, I can adjust the traverse speed multiple times during a single pass across the bobbin.

Typically, I’ll slow the traverse on the edges of the bobbin and speed it up in the middle.

The changes are so subtle you can’t see them in real-time, but the end result is a beautifully even wind shape across the entire bobbin.

Your website mentions various pickup styles – PAF humbuckers, P-90s, Strat, and Tele styles. How does your winding approach vary between these?

Unless a customer has a specific preference, I aim to keep things old-school by matching the resistance and magnet type to achieve a classic tone.

There are several online resources that document the specs from the ’50s, ’60s, and ’70s, including detailed measurements and even the gauge of wire used during those eras.  

You mention storing lumber can be challenging. What specific storage considerations have you found to be crucial?

The biggest challenge for me when it comes to storing lumber is finding enough space. My shop is relatively small, so I usually only keep enough wood on hand for 2-3 guitars at a time.

I do manage to store a few premium tops, but I often wish I had more room to expand my inventory. 

After 11 years of building, what aspects of guitar making do you still find most challenging?

Repetition is key to building any skill, and my current processes have become pretty smooth and efficient over time. However, the one aspect I still find challenging is finishing.

Since it’s the final step in a build, there’s often a gap between projects, so it can feel like restarting a process I haven’t done in weeks.

I also don’t have a dedicated spray booth, so all my finishing work happens outdoors. Thankfully, Arizona’s weather is generally favorable for spraying, but occasional days with extreme temperatures, rain, or wind can cause delays.

During the summer, I often have to start as early as 4:00 a.m. just to beat the intense heat. It’s all part of working with the conditions I have, but it keeps me on my toes!