Guitars , Nitro and Relic

I have always been amazed by the approach of Les Paul and Gibson’s engineers used to create these legendary guitars. 
The best wood, sophisticated technology and classic approach - it is worth applause. But I was disappointed with modern, simplified guitar engineering technologies. A few years ago I decided to conduct an experiment and find out what happens if I restore the exact technology of a LP guitar of the fifties. I spent about 2 years searching for information and recreating accurate drawings and construction algorithms. I wanted my replica to be as accurate as possible - without the slightest compromise. Wood, plastic, metal, dimensions, lacquer, appearance and sound recreated to within a fraction of a millimeter and accurate reproduction of voice and sensations. My research experience helped me a lot in this project. To work with wood, I turned to guitar master Valery Vaschenko. Valery is a unique master, of which there are very few. He is an adherent of the old school of 

violin makers. Most wood operations are done by hand. It requires tremendous skill and experience. 

 My experiment was a success and now I can definitely say that all the work put into a LP guitar works - every node, every material, detail, angle or size - all these are indispensable components of that unique voice.

I am currently collaborating with several excellent Luthiers to create my Fifties Les Paul clones. I adhere to strict principles that enable me to immerse myself as deeply as possible in each project. I have the ability to make the most accurate copies of old LPs. My information base is replenished every day thanks to our friends and fans of LPs around the world. Drawings are prepared based on the actual sizes of the original vintage guitars. Careful selection of premium wood for each guitar build. My three main principles are:

1) I don't make my Les Paul clones for order.
The selection of each piece of the neck and body is carried out according to the principle of tonal intervals, therefore, each part of the guitar resonates with the other in the most balanced way. For each project, I independently choose the future design and the degree of aging. I spend as much time on each project as it takes and I am not dependent on deadlines.
2) I don't do the Gibson logo on the headstock.
3) Each of my projects has my logo hidden under the top, which can be seen on x-ray.

This eliminates potential sales fraud under the guise of the original Burst.
My finished projects will be presented here. They can be purchased through impromptu auctions on my YouTube channel. Therefore, subscribe to stay updated on the news.


I started my study of the sound of guitars many years ago with guitar refinishing. I noticed that the lacquer coating of an electric guitar has a tremendous effect on its sound. Since for me, working with varnishes is very close to my profession, I began to refinish guitars and explore the effect of different varnishes on sound. I experimented with shellac and violin varnishes, cooked according to old technologies and recipes. Some of them work amazingly on acoustic musical instruments. For electric guitars, nitro varnish proved to be the most convenient and traditional coating. Its main advantage for guitar manufacturers has always been its low price compared to shellac and other varnishes. But nitro varnish is not very convenient in finishing. It gives a high shrinkage, with time it turns yellow and becomes brittle. It cracks. For manufacturers, this was a huge disadvantage and as soon as the opportunity appeared they all switched to polyurethane, acrylic or two-component varnishes, which are easier to work with. They do not crack and you can quickly make a perfectly smooth and durable coating. Just like in the furniture industry - easier, cheaper, faster. But why then doconnoisseurs of vintage guitars value nitro so much now? The coating has too many "minuses". Nitro dries all its life, gradually losing plasticizers (some evaporate, some harden), the nitrocellulose

oxidation process goes on continuously. There are microcracks. This makes it possible for the coating to vibrate with the wood, without constraining resonance and micro-vibrations. I am a skeptic by nature and I check any information on my own experience. I did tests of all brands of nitrocellulose lacquer that I came across. Most of them are only called “nitro”, but in essence they are polyurethane varnishes. Polyurethane resins and other additives are used as plasticizers. The only thing that unites them is their basis - nitrocellulose (colloxylin). Since I, in my artistic experience, have repeatedly encountered the preparation of varnishes, I began to make it myself. This gives me the opportunity to clearly control the quality, structure, aging process and the effect of varnish on the sound of the guitar. My nitro mix does not have plasticizers and after my aging process it gets the microstructure of old vintage nitro lacquer.


My idea of ​​aging is to create maximum realism. This also applies to plastic and metal parts. I use many traditional methods of oxidation of metals from my research and reinvented by me. For each material I have a dozen ways to do it. I constantly experiment and invent new ways to recreate one or another effect. The aging of varnish in my concept is an important point in the formation of not only a realistic vintage look, but also in the formation of the sound of the entire guitar. My technology consists of many stages and takes about 1.5-2 months from applying a finishing coat of lacquer to the final result. You can see some technological moments in my videos. But this is far from complete technology and not all possible options. I prefer to keep some of my operations secret. All the guitars I work on have my decal label in the pickup cavity. 

My work process
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