Company

Ryan Thorell
Founder

About

I build guitars one at a time, by hand, in Logan, Utah.

My work is rooted in the traditions of American archtop guitar making, with a focus on clarity, balance, and playability. I’m interested in instruments that feel inevitable in the hands of the player—responsive, stable, and quietly expressive—rather than statements built around novelty.

I began building guitars in the early 2000s, drawn equally to music and to making. Over time, the shop became a place where traditional handwork, careful measurement, and modern tools could coexist. I use hand planes and scrapers alongside CAD/CAM and CNC where precision and repeatability matter. The goal is not speed or scale, but consistency—each instrument benefiting from everything learned on the last.

My archtops are built to order, with close attention paid to arching, stiffness, and the relationship between the top, back, and rim assembly. I voice each instrument individually, guided by how small changes in geometry and material choice affect response and feel. Whether acoustic or amplified, the guitar should speak easily and honestly, without forcing the player to work around it.

Over the years, my instruments have found their way into the hands of working musicians and collectors worldwide. Guitars I’ve built and designed have been played and collected by artists including Frank Vignola, John Pizzarelli, and Parker Millsap, and I’ve collaborated on instrument design for Eastman Guitars, contributing to models used by players on an international stage. These experiences have reinforced the importance of restraint, reliability, and musical usefulness.

Teaching is an important part of my practice. I run a small, hands-on guitar building class that emphasizes fundamentals, discipline, and real builds. Students learn hand skills, design thinking, and modern shop methods in an environment that values patience and accuracy over shortcuts.

I also take on select repair and shop work. Repair work keeps a builder honest—it reveals what lasts, what fails, and why—and that feedback informs how I approach new instruments and long-term durability.

I don’t build many guitars each year. I prefer to stay close to the work, maintain control over the process, and ensure that each instrument leaves the shop finished, stable, and ready to be played for decades.

My aim is simple: to build guitars that are considered, durable, and musically alive—tools for players who value nuance, touch, and a long-term relationship with their instrument.

Latest Press

Utah Buisness Magazine
Interview

Jazz Guitar Today
Feature

Downbeat
Review