Found an old mid to late 40's tube am radio & phonograph console at a local flea market this past spring. It was in sad shape. Decades of dust and furniture polish dulled the wood finish. The amp receiver chassis was filthy. The tubes/valves were covered in dust and old tape, the individual tube numbers written on them. One of the 4 wooden knobs had split in half.

After replacing most of the old paper in oil "oozing wax" capacitors and bad resistors and verifying everything else was wired right, I followed with some sanding, staining, Danish oil, steel wool for the chassis, scraped off the tape, replaced the cracked power cord with a new one, added a dual RCA jack for a proper antennae connection, installed new grill cloth, repaired the broken knob and refinished the lot, polished the brass knocker door handle, cleaned and serviced the phonograph, and added new rubber feet pads.

Finished it over the weekend.

That's merry Christmas to you and yours.

Another few hours with my friend and teacher g pa Tom.we finished the lap steel guitar I built. With his help of course.. what a great time I had. We ran into a problem with the string tree and tried different types of materials,when an old piece of scrap wood came to the rescue.Thanks to the quick thinking of my friend we had that puppy finished and playing.So many thanks to you ancEstry Chfristmas to you and yours

I discovered this beautiful vintage amplifier online recently...for $50. It came in a carry case with a power cord and a unique accessory that looks like a transducer microphone of some sort for recording.

Not too much information about the amplifier, except that it appears to be an external amplifier for a 16mm film projector from 1930-1940's.

I plan on converting it into a guitar tube amplifier head.

Series of recordings/screen casts on Riley's washtub guitar, then my washtub bass, then my walking stick banjo. Apologies for my playing, singing, and the video/sound quality. Just a funny idea I had.

And I have no shame so I'm gonna share

hi everyone, just joined. my question is, im thinking about getting one and starting out on a 3 string and then maybe later go to 4 string. so would it work if i bought a 4 string but take one string off until i think im ready to go to 4?

I have 17 various shots of this skull available for you CBG as well as many vintage cigar box covers. Check out my web site:

http://www.jagshouse.com/cbg/skulls.html

http://www.jagshouse.com/cbg/labels.html

I just wrote an article with unloaded pictures.  It died and was lost immediately upon clicking "Publish Post", on a "connection reset".  No point in contributing if that happens every time.

I've built five prototype electric guitars, all with ordinary power and hand tools, like a router with masonite templates.  The first, of aluminum and Poplar, broke under string pressure.  The 2nd, of oak and masonite, still works.  The 3rd was just too big and ugly to live.  The 4th is big, heavy and ugly, but plays well, with four matched single-coil pickups and 10 humbucking outputs.  The 5th of Poplar and Luaun plywood, not quite finished w/o an electric output, has more in common with a cigar box guitar, with its square-framed body.  See http://TulsaSoundGuitars.com/news/prototype-patent-news/first-images-of-fifth-prototype-patent-pending/  ; and @TSGaxe.  See also https://patents.google.com/patent/US9401134B2/en

More lately, I've been making custom wood guitar knobs, also posted on TulsaSoundGuitars.com.  I've thought about writing DIY books on how to make guitars and knobs like these, and joined here to find out if there is any interest. 

Our Story

Here at Heavy Fog Guitars we handcraft Cigar Box Guitars with premium exotic hard woods and high quality accessories. We build unique 3 and 4-string electric cigar box guitars. Our guitars are built in Canada at our St. John’s, Newfoundland workshop. Each of our handcrafted guitars is a “one of a kind” instrument possessing an original tone, feel and look.

Our love of music is built into each and every one. Whether you are a beginner or a long time picker these instruments are easy and fun to play, providing hours of musical possibilities. If you are looking for a unique gift, a musician seeking inspiration or an individual choosing a new hobby our handcrafted cigar box guitars are a solid investment.

Our History

Heavy Fog Guitars was founded by Peter Lake on August 10th, 2015 in St.John’s Newfoundland & Labrador, Canada . Since the founding, He has crafted many guitars (played by notable musicians such as Justin Johnson, and the Hub Cap Stealers)

The journey began when Peter was watching the movie “It Might Get Loud”. While watching the movie he saw Jack White build a 1 stringed diddley Bow. Having Stoked his interest Peter began searching about homemade instruments and he came across a man named “Sea Sick Steve” who was playing a “Hubcap Guitar”.  He began to do more research and discovered Justin Johnson playing a Cigar Box Guitar. He immediately knew he wanted to start building his own.

In the Summer of 2013 Peter found an old Ford hubcap laying on the side of the road. He picked it up, brought it home, and built his first “hubcap Guitar”.

In the summer of 2015, Peter decided to build his first Cigar Box Guitar. He was quite pleased with the end result, and decided to post a picture on social media. He was overwhelmed with the feedback. He began receiving messages from friends wanting one of their own, and before Knew it, it became a growing business. He called his business “Heavy Fog Guitars”.

Several months later as the company began to grow, Peter was contacted by the Canadian Broadcasting Corporation (CBC) for a radio interview, which spread the fog across to its many listeners. Shortly after Peter was contacted by a local news paper “The Overcast” to do an article for their very popular monthly issue. This made “Heavy Fog Guitars” a buzz name in the city of St.John’s.

My Dad picked up a small oval washtub at a yard sale and gave it to me.  He was a fan of my washtub bass and thought I might do something with it.  

My son Riley gets builders credit on this one.  He had been wanting to do a full scale six string guitar, so we found a few online examples of guitars with a similar tub.

We put together some rough plans and he built it with some help here and there from dad.  It is sort of a hollow-body electric. It has a piezo disc pickup on the soundboard under the bridge.  The background track on the video is just a phone recording of strumming on it without an amp.  At the end he is plugged in.

I wish I had built my own guitar instead of dealing with the above "builder." fret metal was ragged and I sent it back, after he refused to pay for shipping. Kyle returned it to me a week later with the same issue. Buyer beware. Anyone have a clue how I can fix this issue? Thanks in advance for your help

Washtub bass project from back in the spring:  

The wood is all air dried cherry and walnut from the farm.  The washtub belonged to my great aunt.

Video:  (Not me playing I was taking the video)

Finnish lumberjacks played on their camps an instrument similar to One String Sam's diddley bow, sometimes in duett with a crosscut saw.

For finnish followers I add here descriptions I found on internet:

sippiviulu - säilykepurkista, laudanpalasta ja kitaran tai viulunkielestä tehty savottajätkän soitin.

Olen jopa nuorena nähnyt sahan soittoa sekä sippiviulun soittoa duettona. Sippiviuluhan on laudan päälle viritetty peltipurkki jonka yli menee rautalanka kielet.

Vuonna -68 ja eteenpäin olin Koittanpelimanneissa, joita veti Konsta kakkonen eli Kauko Nummelin Koittankoskelta. Soittimet olivat huuliharput, kitara, 5 rivinen kravattimalli Kouvola, kaksirivinen, viulu ja puoliakustinen lumilapio eli «sippiviulu».

Sen ajan monenpojan unelma havaijikitaralle oli sippiviulu, joka rakennettiin itse. Piti löytää tai saada jostain jonkun soittimen katkennut kieli, jonka ympärille rakennettiin runko tai peräti vanerista kaikukoppa.. Sen päälle tallojen varaan viritettiin ruuveilla ko kieli. Ja eikun soittelemaan kammanpiikki plektrana ja joku lasiesine, tai hiottu rauta korvaamaan ko sävelsivellintä. Sellaisen rakensin itsekkin joskus alle kymmenvuotiaana.

Ramblin'
An Ethnodetritomusicologists Journey to Analyse the Repertoire, Cultural, and Social Aspects of the Cigar Box Guitar Revolution

by. Charlie (Silverspoon) Philp

Introduction.

So I thought the best way to start my first entry would be to introduce myself; hi my name is Charlie Philp, I live in the UK. I grew up in Whitton, Twickenham, of which is in London, but have since moved to the North of England to live in Newcastle Upon Tyne. I study part time at Newcastle University, and work full time as a professional musician. I make my money teaching classical, jazz, electric and acoustic guitar, as well as music theory. I also perform and make music in a range of ensambles, ranging from conducting the Newcastle University Jazz Orchestra, to playing in Wedding Bands and with a Reggae Band, Tex & the Dukes. The usual joke on this page goes something like: 'Hi my name is Charlie, and I am addicted to Cigar Box Guitars'. I have only recently caught the Cigar Box Guitar bug, and having been swept up in Shane's Cigar Box Guitar Revolution. I am proceeding to write my dissertation, to complete my hons degree in Music at Newcastle University, on the Cigar Box Guitar. But I'll discuss this more later my my blog.

The Source of my Addiction: The Summertyne Americana Festival.

I first discovered, and heard, the Cigar Box Guitar at the Summertyne Americana Festival. A 'three day jamboree, that celebrates American roots music and brings together some of the finest and most exciting performers from both sides of the Atlantic.' This Festival and musical experience has since become a pivotal moment in my musical journey. At this festival were two Cigar Box Guitar builders sharing one stall, Scott's Cigarbox Sounds and Michael's Avalon Cigar Box Guitars. I had never seen, or knowingly, heard the roar and glide of Cigar Box Guitar before the first day of this festival. I was captivated by the aesthetics of the instrument. They were rugged, aged, vintage and primitive chordophones, barely holding in tune. Yet, they produced this hauntingly beautiful sound and tone. Both Scott and Michael had no problem with my sitting

down and attempting to play these quirky Guitars for an hour, as I quote "You bring the customers in". Of which I thought was rather funny, as I had never used, or attempted, to use a slide before. I returned each day of the music festival to their stall, a Willy Wonka's factory of quirky homemade underground instruments, and sat down and proceeded to be captivated while playing Scott and Michaels creations. Surprisingly they didn't seem to mind, and my girlfriend wasn't getting annoyed with me leaving her to play yet more music. As we were lucky enough to both have great weather, a rarity in the North of England, and enough Cider and Snacks to keep a small island both fed and drunk, my girlfriend was perfectly happy sitting on a hill onlooking the main stage while I twiddled away inside. Each day I promised to purchase one of Scott or Michaels builds, as I was waiting on a cheque for a gig I had played the previous weekend. As the third day was nearing, I was getting more and more nervous. I thought that by the end of the festival all the "good" ones would have been sold, because nearly every other person at the festival had a fretless 3 string Cigar Box Guitar strapped to their on there backs. On the last day of the festival, Hymn for Her began to play on the Jumpin' Jack Stage. I must have spent their whole set staring at Lucy's Lowebow, built by Johnny Lowe, and after I saw they were opening up for Reverend Payton's Big Damn Band, I rushed into buy myself, and my girlfriend, a ticket to see the Reverend, Lucy and Wayne again. I then frantically proceeded back to the Cigar Box Guitar Stall. Unsurprisingly, the number of Cigar Box Guitars and supplies left were running thin. The first nine instruments I tried, while being great guitars, didn't have the same Mojo as some of the box's I had tried on previous days. I was slowly giving up hope on finding the perfect Cigar Box Guitar for me, and both Scott and Michael saw that. Until finally I played one Michael's creations, a 3 stringed fretted Cigar Box Guitar, of which he almost didn't bring to the festival as it was both his baby, and his practice instrument. After strumming the first open G5 chord, and then proceeding to slide up to the Major 3rd on the highest G String, she was the instrument for me and remain's my number one.

My Dissertation... 

Well, for my dissertation, I have to pursue extended research on a topic of my own choice. Presenting my results in the form of a dissertation consisting of 10,000 - 12,000 words. Sounds a little scary doesn't it? To achieve a body of work I would be happiest with, I knew that I needed to first accumulate, and then study, a variety of materials related to the field, and subject. My first road block was that I could not, and can not, find any pier reviewed academia either mentioning, or related, to Cigar Box Guitars... (crap!) My next problem was that I hadn't the foggiest idea of wether I was going to be an Historian and write a piece studying the History of the Cigar Box Guitar, a musicologist and analyse the repertoire of the Cigar Box Guitar, or an ethnomusicologist and research the cultural and social aspects of this instrument, the luthiers that build them, and the communities, like this one, who both welcome new builders and disseminate information to help everyone. I began to, with stress induced urgency and excitement, source all the materials of which I could afford to learn everything I could about the Cigar Box Guitar. I found two DVD's: Songs Inside the Box and Strung Together. Both excellent DVD's, of which, I would recommend to any Cigar Box Guitar nut. Although they both include a lot of talented, and some unfortunately not, musician's and builders, both DVD's feature amazing interviews, and an insider insight, essential for my research. Featured on Songs Inside the Box, is the author of One Mans Trash: A History of the Cigar Box Guitar, William J Jehle, who's book has become a pivotal necessity to complete my research. I wont talk too much at length now about Detritomusicologist, and Historian, William J Jehle now, as I will be making a separate blog post commending Jehle's work, but I will say; it's a concise brilliant read, and a necessity for any cigar box guitar builder! I have also sourced a number of books on building and playing Cigar Box Guitars:
- Cigar Box Guitars: The Ultimate DIY Guide for the Makers and Players of the Handmade Music Revolution,
- Obsession with Cigar Box Guitars, An: 100 Top Handmade Examples,
- Cigar Box Guitar - The Ultimate Collection: How to Play Cigar Box Guitar: Volume 1,
- Cigar Box Guitar - The Ultimate Collection - 4 String, and
- Cigar Box Guitar - Technique Book: Cigar Box Guitar Encyclopedia.

Why I am doing this blog?

Well, I have started this blog for two reasons. The first being to give out any bit of information I have learnt, or accumulated, relating to  building Cigar Box Guitars or the history/culture of these amazing instruments. I do so, with the idea that the more we all share and know, the better we will all become. The second reason I have started this blog is to ask graciously for help, and to be pointed in the right direction. Especially when I haven't realised I am in fact going the wrong way and will eventually end up lost. I'm not expecting many people read this blog, but will (and do) really appreciate anyone for making it this far through my first entry. I promise my next entries wont be as long! I would also really appreciate anyone who commented anything from: advice, criticism, or just a simple hello. 

Thank you for reading, I'll be back in touch soon!

All the best,

Charlie Silverspoon Philp

(here's a photo of me playing the mandolin to a herd of captivated cattle)

I will attach a picture from a guitar case of my Dad's from 1935.  My Dad was 17 at the time.  He was born in the Great Depression Era.  He wanted to play guitar, but times were hard and he couldn't afford one. He was a gifted woodworker and the shop teacher asked my Dad if he would be interested in staying after school and earn some money repairing "Well to do" people's furniture.  He did this and after a time he had enough money to build a 6 string guitar and play it in the  High School Dance Band.  This was his logo and I have decided to use it on my builds.  I have put it in the Pup pocket on my new Lap Steel.  I'm sure Pop is up there looking down and smiling.  My son, now 43 years old is building a 6 string and going to continue the tradition.  Long live the "Groner" name!