The Art Of RECYCLE

Electric guitars that are always ready to go, even when you have to #stayhome.
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Every Rubÿtone is a one-of-a-kind, upcycled work of guitar art but it is also sorted and set up, prepared to play like a dream.

Hollow-Body

Classic lines, elegant tone
If you want the full experience, this is the design to choose. You can't go wrong with f-holes when it comes to mojo and desire. However, the benefits don't stop there. The bodies from abandoned violas and plastic toy guitars make for better sounding and louder instruments when everything is situated just right.
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Simple

I'm going to level with you.
I have omitted anything that is not necessary. These guitars are FUN to play and to look at. I might build a guitar upon an old carpenters tool because I like to create a level playing field. It also looks cool but the main concept here is keeping it simple.
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Mini

Short-scale
This is a guitar that you don't have to leave behind. It might even fit into your bag. The shortened scale length will require a bit of transposing if you want to play together with others, but that is easy to learn. It's like playing with a capo on the 5th fret, without the capo.
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Theory:

Artist vs. Craftsman

A craftsman follows a plan. An artist follows their star. I am both. A craftsman does not need to have his own idea; he is skilled in execution and well-practiced through repetition. I am an artist FIRST. My vision is to make instruments that can be played. I start with a concept and use my craftsmanship to solve the physical and visual problems using the artifacts that I have collected to fulfill my vision.

Kitchen Counter Guitars

I described what I do as

“kitchen counter” guitar building, in part, because as a city-dweller I don't have a garage or a basement to set up a workshop in. I am also mindful of the scaled-down electric guitar sound they produce so they can be played in an apartment without disturbing one's neighbors.

Re-purposing is an ever evolving practice,

The Art of RECYCLE

Art is a process; this process involves collecting and using out-of-the-ordinary artifacts, to create sculptural musical instruments that I can carry with me every day. When I lived in California I worked for a furniture builder. One of our big projects was dismantling parts of Tommy Smothers’ home to make way for the new stuff. I still have and use redwood planks from that job for the body of my guitars. I also collected French oak wine barrels from Napa Valley that I was drawn to because of their color and aged surfaces. The art and practice of repurposing lies in recognizing the value and potential of found and discarded artifacts – and storing them for a rainy day.

Waiting in Weehawken

When commuting to the city

from my home in Weehawken, instead of waiting for the bus each day, thinking, “I wish I could play the guitar more,” I bring one with me and play it until the bus comes. Over time, I have also learned to play while walking to work. At first, this was quite a challenge because I never tried to play without looking at my hands. When walking in the city, though, looking down is not a good idea. It was like starting over; I found a mantra and learned to play for 20 minutes at a time without looking. Now, with everything I have added to my repertoire, I can play better without looking. Not only has this new-found practice time added to my fluency, I also find it is an interesting way to market my work and even occasionally make a sale.

In 2013

Wall Street

I had a weekly Thai Massage client in the boardroom for a Wall Street CEO. I would usually arrive early and play my guitar on the street until the appointment time. One morning I set out to build a guitar and get it playing in time to take with me for my 4:30 appointment. I put it together, turned it on, and it sounded marvelous. I made fine adjustments for intonation and string heights and with time to spare, I headed to Wall Street. I arrived early and sat down to pick the guitar when a man came up and listened for a while. When I stopped, he proclaimed he had to have it. I could see that he was serious, but I was running out of time. So, I quoted him my ‘Crazy Number,’ thinking this would get me out of the conversation and on my way. I was surprised when he countered, so I accepted and he ran to the ATM. I will never forget him running toward me, waving the money over his head. I made the exchange and went to my appointment happily empty-handed. It was my quickest turn-around, but I’m learning that it’s not always that easy to make a sale.

This collection is a portfolio

My vision

This collection is a portfolio of ideas for how I like to build guitars. Going forward, I envision a client commissioning a guitar and providing the inspiration - Grandma’s turkey roaster lid, a license plate from Burma, or Grandpa’s old guitar with half the parts missing. Then, I fill in the blanks and tell the rest of the story making it come to life as a new customized creation.

Pricing is the most difficult part

and always has been. Now that my vision has crystallized into what I think is the Ultimate Built-in-Amp Guitar, some of the new guitars are easier to put a number on because I know what it takes to replace them. My pricing considerations include the design, the components, the musical value including playability and tonality, the sculptural art worthiness, along with their durability and whether they can stand on their own.