Franklin Guitar Company

Nick Kukich sawing Englemann Spruce for guitar tops

**hand*made** | ‘han-(d)-mad’ | adj: made by hand rather than machine

“I believe that a production line is a type of machine which produces ‘units’; while a guitar built by a single craftsman remains unique - a piece of art. Each Franklin guitar is a personal expression; hence, my signature on every label. Furthermore, since I only produce a small number of guitars, each is more valuable than those which are mass produced.” - Nick Kukich

Franklin Guitars are the work of master luthier Nick Kukich, who has more than 35 years of guitar building experience behind him. Prior to building your guitar, Nick will discuss wood selection, appointments and options with you, as well as your set-up preferences. He hand carves each neck individually, taking into account your hand size, playing style, and preference. Fulfilling a specific request regarding the size or profile (low “C” or “V”-shaped) of the neck is no problem. All necks have an adjustable truss-rod, accessible through the top of the peghead. The new design allows you to make the adjustment without removing the strings

:: History of Franklin Guitar Comapny ::

Shortly after building his first guitar in 1971, Nick Kukich moved to Detroit. There, he lived (and worked) in a music store that specialized in pre-war, acoustic guitars. While repairing instruments, Nick had the opportunity to see, hear, and play a multitude of guitars. The process of deconstructing and reconstructing guitars was an experience that allowed him to develop his knowledge of the instrument to an intimate and intuitive level.

A few years and a few guitars later, Nick moved to Franklin, MI. There, on Franklin Road, he formed the Franklin Guitar Company in 1974. He had met and joined forces with Laurence Ostrow, who distributed instruments through his company, Guitar’s Friend. It was Laurence who urged Nick to make the OM, styled after a pre-war Martin. He assured Nick that he could sell all the OM guitars Nick could make. To our knowledge, Franklin Guitar was the only company making the OM model, from 1974 to 1978.

In 1977, Nick and Laurence relocated to Sandpoint, ID, where Nick continued to make the OM model. Around 1980, Nick introduced his first Jumbo model. This was the model that Stefan Grossman had the opportunity to play while visiting a music store in Utah. Stefan liked the shape, which was known as a Prairie State model, made by the Larson Brothers. Stefan contacted Nick to ask if he could make some changes to the Jumbo. After some collaboration and experimentation, the Jumbo was refashioned into the guitar it is today. About a year after Stefan took possession of his Franklin guitar, he showed it to his friend, John Renbourn. John was impressed by the build quality and the sound, and ordered his own Franklin. John chose the smaller OM model, which fit his playing style. Nick remained in the Pacific NW for several decades, working in Seattle then Portland.

Nick now lives and works in a small river town in Mid-Missouri. With more than 600 guitars to his credit, Nick continues to build the OM and Jumbo models. He is also getting ready to build a Dreadnaught, a model he built a dozen or so of in the early years.

:: Styles ::

The OM

The Franklin OM is styled after the old Martin orchestra model that made such an important contribution to playing styles in the late twenties and early thirties. Besides being the first steel string guitar to incorporate the fourteen fret neck, it was known as one of the best balanced, fullest sounding guitars ever made. Nick has added some structural improvements that we feel make his OM's one of the very finest guitars available on the market. The hand-carved braces interlock perfectly to give the top just the right degree of freedom to vibrate.

The Jumbo

The Franklin Jumbo is another Nick Kukich specialty. Nick sympathizes with guitarist looking for the kind of "big" sound that only a Jumbo could give. But being the artist he is, he found it unacceptable to make a guitar that coupled projection with a mushy tone quality. He experimented with bracing modifications and body dimensions until he could offer a Jumbo that wouldn't give you the problems typically associated with these guitars. The result is an instrument with the power to cut through and a deep resonant bass - but one that won't "boom", resulting in a loss of clarity, or create problems with a microphone.

::Wood Selection ⁄ Pricing & Ordering Information::

The choice of woods we stock for backs & sides are Brazilian Rosewood, Madagascar Rosewood (OM only), East Indian Rosewood, Mahogany, Koa, English Sycamore (flamed Maple) and African Blackwood

For tops we offer aged European Spruce (30-40 years cut), Adirondack Spruce, Cedar & Redwood
Necks are carved with either Spanish Cedar or Honduras Mahogany
Fingerboards and pegheads are either Brazilian Rosewood or Ebony
Bridges are Brazilian Rosewood - dyed black or natural
Brazilian Rosewood models start at $12,000(USD), all others start at $9,000(USD).
For Jumbo model add $150(USD).

Nick will once again be making Dreadnaughts in the near future. We are not yet quoting prices for these, but they will be in the same range as our Jumbo models.

We require a 10% deposit to be placed on the waiting list and lock in the price quote. Price includes a hard-shell case; shipping & handling are the responsibility of the buyer. There is a fee of $80 (USD) for international orders to cover documents and customs clearance. We accept checks (domestic only), wire transfers, Paypal & Echecks. Refunds on deposits depend on how much time we have invested in the order prior to a cancellation.

Our waiting list typically runs 10-12 months. We do have production limitations, as there are just the two of us working on the guitars. If we think the wait will be longer, we will inform you prior to receiving your deposit.

Standard Appointments & Additional Options

Our standard appointments include:

Bound fingerboard
Wood binding (unless ivoroid is your preference)- the choices for the wood binding are flamed Koa, flamed Maple, or Brazilian rosewood
Waverley tuners -Nickel w/ebony buttons
Mastodon nut & saddle
Five slotted squares for the fret board - two on the 5th. One on the 7th, two on the 9th
Herringbone purfling

Our standard neck is 1 ¾ ” at the nut. There is no upcharge if you require a different size.

Brazilian Rosewood models come with an inlaid wood backstrip and matching butt inlay, as well as side fillets(B/W lines that run along the purfling).

Some options we offer at an additional cost include:

Bound peghead
Abalone rosette - solid or snowflake
Abolone purfling
Sunburst top - this is a hand-rubbed color process
Left-handed
Cutaway
Custom inlay

We are now pleased to offer a photo-journal detailing the progress of your guitar during the build. This begins with a photo of the wood you help select and ends with a presentation in the form of a hard bound book. This custom option is available for a fee of $100(USD).

If you desire a custom option that is “off the menu”, please contact us, we can most likely accommodate your request.

:: Guitar Maintenance ::

Climate control is an important issue in guitar care. Extremes in humidity can wreak havoc with the wood and glue joints. Ideally, humidity should stay between 40 and 50%. A simple tool, the hygrometer, can measure both the humidity in the room the guitar is stored in, as well as the case. When not in your hands, the guitar should be stored in the case. This helps slow the exchange of atmospheric conditions. In addition, if the guitar is to be stored in the case for a longer period of time, the strings should be lowered 2-3 steps to prevent it from becoming stiff.
When traveling by air with your guitar, it is very important to loosen the strings. If the strings have not been loosened and the instrument is jarred, the bridge can pop, at the very least. Also, if traveling from one extreme to another, it is vital that you allow the guitar to remain in the case as it comes up or down to room temperature. Never travel with the guitar in the trunk of your car, or allow it to be put in the cargo hold, unless the case has been insulated and boxed.
The neck of your guitar will not need the truss-rod adjusted for quite some time. When you do need to raise or lower the action, simply insert the truss-rod wrench through the opening at the top of the peghead. It is important that you do not turn the wrench more than ¼ of a turn with each adjustment, until you see how the neck has responded. When looking down at the peghead, as the guitar is standing up, turning the wrench clockwise will lower the strings, counter-clockwise raises the action.
Nick will have discussed string gauge with you prior to building your guitar. Most guitars are built for light-gauged strings, unless otherwise requested. If your guitar was built for light-gauge strings, do not use a heavier gauge, as it could harm the guitar.
For cleaning oils from hands and hardened grime, we recommend a soft cloth dipped in mild dish detergent diluted with tepid water. Squeeze out the excess water and wipe the area, then dry with a clean, soft cloth. For polishing, we like Martin or Gibson spray polish, Lemon Pledge works, also.

:: Customer Reviews ::

We think letters from those who own a Franklin guitar best describe them:

“Having never seen, heard, nor played one of your guitars, I really didn't know what to expect. Upon first playing it, I was amazed to hear such a big, clear sound from such a small guitar. I was pleasantly surprised. I was going to compare the OM with-say, Martin, or Alvarez, or Greven, but I think my OM is in a class all its own. The action is pleasant, the tone is lovely, whether playing loud or soft. It sounds especially nice in any ‘open’ tuning (my favorite is C). Your workmanship is impeccable. Very nice detailing.” -Tom Hogan, AK

“As a rule I do not write appreciative letters to people who supply things that I buy. I reason that I have paid for their services and that is compensation enough. However, I just bought one of your guitars and I’m forced to break a long-standing rule and tell you of my joy in the instrument. What can I say? The thing is as near perfect as anything made by man can be! I’ve made four guitars myself and I think I can say with authority that I can see no area that could be improved. The Brazilian rosewood is stunning (it looks like a sunset on the back), the inlay, the binding-everything about it is superb! The tone is sweet with a very powerful bass but not out of proportion. The mid-tones on the G and D strings send shivers up my back. Congratulations on a superlative job of craftsmanship!” -Rob Russon, UT

“I have just received my new Franklin in perfect condition. I am playing it now. Great sound! Beautiful looks! I love it! And the neck fits me very well. Thank you very much for a wonderful guitar. For my tour, I usually take a couple of guitars with me. Then I decided to take the new Franklin with me for the tour which will start tomorrow. When I play it on the stages and someone takes the photos, I will send them to you by e-mail. Thanks a lot again!” -Tokio Uchida, Japan

“This guitar is glorious, in case you didn’t know already. I’ve owned over 130 guitars since 1968, and you have made the best, my friend. I’m hearing new overtones and stuff every day, as it opens up.” -El McMeen, NJ

“The guitar you made for me is everything I hoped for and things I couldn’t imagine. It is a wonderful musical instrument, a wonderful guitar. I’ve had it for a bit over six months now and the overwhelming aspect of it is its sound. It’s a beautiful guitar physically, it looks great, it’s cool, but that’s all in the back-ground. It’s the sound. It is beautiful, beautiful. It’s got a huge range of capability, of possibility. I love its tone and voice. There’s no place on the guitar where I say, ‘Oh I wish it sounded better here.’ I play it and never say, ‘I’m tired of hearing this guitar,’ or, ‘this is boring me,’ which I do on other guitars. Bad as my playing can be, I’m never tired of hearing your guitar. You know this, you made it. It is a very, very easy guitar for me to play, the action is soft and supple, and it fits me well. The sound has developed a great deal in at least three stages I recognize. I’m not afraid of handling the instrument, or playing it freely. It is well taken care of and is in great shape.” -Saul Wax, NC

“Enclosed are some photos with the Franklin Guitar. What a fine instrument. I recently spoke with John and he seemed just as happy with his instrument as I am with mine. Thanks. ” -Stefan Grossman, NJ

“...Just thinking about the guitar has kept me awake at night and I can only say that it is beyond even my wildest expectations. The neck and the action are beautiful and I am really looking forward to using the guitar for my next record...” -John Renbourn, Scotland