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Unmistakably Lindsay Wilson...

My early involvement in Antique restoration and cabinet making has been a major influence in my 30-year career as a furniture designer.  This instilled an appreciation of high quality materials and craftsmanship, along with a recognition of how important proportion, balance and aesthetics are to creating beautiful furniture. This informed my passion for studying and making electric guitars which has been with me throughout my life. Along with my enthusiasm for japanese and far eastern art, this has been the inspiration behind Lindsay Wilson.

A gradual evolution of body and neck shape have resulted in what I consider to be a beautiful balance of form and function - the Lindsay Wilson Guitar!

All my guitars, whether Bass or 6-String, use this signature body, headstock and scratch-plate design all available in a range of materials which can be discussed to suit your personal taste. Bodies are hand shaped from reclaimed timber, subject to availability, and include Cuban Mahogany, Honduras Mahogany, Pitch Pine, English Elm and Walnut as well as contemporary timbers including Brazilian Mahogany, Ash, Poplar and Maple.

All necks are available in either Maple or Birds-eye maple, with an Ebony Finger-board. Hand-veneered scratch-plates are available in Birds-eye Maple, Karelian Birch, Quilted Maple, Umbuya Pommelle Birch and Tiger-Stripe Birch and others too numerous to list are available on request. All timbers can be finished in either Satin, Gloss or Matt lacquer, Bleached and /or Limed finish depending on suitability, Oiled & Waxed and the full range of Farrow & Ball paint. Hardware is available in Chrome, Black or Gold with BlueBird Pickups by Jesse Davey of KingtoneGuitars

What is the best guitar in the world, is there such a beast? I have heard many guitarists say “this is the best guitar in the world”, and to them, it is - it’s as simple as that. A guitar is a very personal thing, each one fulfilling different requirements. To build a guitar that encompasses every thing to every man is just not possible. Striking a balance between technical proficiency and aesthetics is the key.

Unmistakably YOURS.

The signature feature of a Lindsay Wilson Guitar is the exquisite hand-inlaid fingerboard which combines traditional and contemporary materials such as Mother of Pearl, Abalone, Black-Lip Oyster, reclaimed Tortoise-shell and Ivory, polished Aluminium and Brass to recreate beautiful Japanese-inspired scenes.

Guitars can be supplied with Hiscock Flight Cases for ultimate protection. However currently under development are custom handmade Lindsay Wilson bridle leather case’s, guitar stands and straps.

Prices for inlaid guitars start from £3500.00 for a fretless Precision-style Bass; please call for further details.

If you like what you see, head to the contact page and email or call me - I’ll be happy to discuss any requirements, or just talk guitars!
If, after that, you would like to get that little bit closer to owning a Lindsay Wilson guitar, I can make a personal visit to further discuss what you’re after and bring along my own personal guitars to demonstrate how they’ll sound with your own Amp set up, which I feel is very important. At this time we can discuss materials and other options too. If you want to place an order, a 50% deposit is required with the remainder to be paid on delivery, again made by myself to ensure you are happy with your instrument. Lead-time is usually 2 months minimum depending on volume of work.

Each guitar will be supplied with a photographic log book of its creation from initial body blank to the final polish so you can see that while its unmistakably Lindsay Wilson, it is unmistakably yours!


Each Lindsay Wilson custom inlaid neck is like a glimpse into another world, as seen through an arrow-slit window. This approach was influenced by guitar maker Grit Laskin and I have honed my technique whilst studying his work, and the literature of the undisputed master of Inlay, Larry Robinson.

I use oriental artwork as the inspiration for my neck inlays, not only because I love the detail and subjects captured in these ancient scenes, but because their delicate beauty and composition complement the Ebony fingerboard so beautifully.

All the scenes I use are carefully chosen from my own library of images, and carefully composed to achieve the perfect balance of space between the imagery and the fingerboard. Once I have chosen a suitable image, the design is hand-drawn to suit the fingerboard and used as a basis for all the individual elements of the design. This paper template is cut into the individual elements and glued to the respective inlay material, this is then carefully cut by hand using a jewellers saw.

Next a complete copy of the design is overlaid onto the neck to give an absolute position for every part of the design. Then one by one, each piece is glued to this overlay, slowly building up the picture. When this is complete, each of these sections is used as a guide to score the fingerboard ready for cutting, to achieve an exact fit. The final overlay is then removed to expose the fingerboard, into which white chalk is dusted to pick out the score lines, these are then used to route out the relevant areas to a depth of 2mm, ready to accommodate the inlay pieces.

The penultimate stage is carefully test-fitting each piece in its respective position and adjusting to ensure exact alignment before gluing in place. Finally the whole fingerboard is sanded in several stages to make the entire neck and inlay flush for a flawless smooth surface, It is then hand polished with lemon oil for the ultimate lustre! At this point each material reveals its own unique qualities and this is the most satisfying part, certainly worth all the work!