WALTER, STEVEN

Of the numerous individually built guitars available today, those made by Dr. Steven Walter in the Chicago area are considered among the best. Steven enjoys the rare distinction of being not only a great guitarist, but also an outstanding luthier. Not surprisingly, one passion serves the other; but, here, the insights of the player definitely contribute to an uncommon degree of excellence in terms of the luthier’s finished product.

Similar to Manuel Velazquez a generation before him, Steven was evidently thunderstruck at a young age during a live performance by Andrés Segovia. Subsequently, Steven quickly developed a passion for every aspect of classical guitar. Indeed, his enthusiasm was such that he was not only driven to master the instrument, but also its construction. Thus, not unlike many other guitar builders, his journey began with a lot of gumption and a fortunate proximity to fine woodworking via a friend whose father was a cabinet maker.

During his early studies, Steven played guitars of his own construction, remaining generally ignorant of the qualities of a concert-level instrument. This changed immediately upon his arrival at Florida State University, where he studied under the notable instructor, Bruce Holzman. There, Steven was exposed to some of the finest guitars available, which, in turn, honed his senses and would later inform his building. Following an impressive career as a player and educator, he eventually returned to Chicago to focus on building instruments. Dr. Walter’s prowess as a builder was such that he is one of only a couple of builders who were actually granted license by the late, great American luthier, Thomas Humphrey, to build guitars in the style of his famous Millennium model.

Indeed, as stated in his website copy, the Millennium models, like this 2013 example, represent the bulk of Steven Walter’s output. And, along that line, this guitar definitely performs as advertised. Its unique reinforced radial-fan hybrid bracing imparts a commanding, robust presence. In concert with this presence, the guitar is quite dynamic in terms of its response–notes seem to come to life with minimal force from the right hand, but it can also project a more powerful attack with impressive clarity and balance. As one would expect from a cedar top, the voice exhibits a pleasing warmth and color that has plenty of dimension without being too saturated or overly lush. Rather, by virtue of its construction and also the innate reflective qualities of its stunning Brazilian rosewood back and sides, this Millennium delivers a timbre that is refreshingly lively and crisp, if not slightly dry. Finally, the elevated fingerboard, a distinctive and key component to the Millennium design, improves access to upper registers, thereby offering the player a greatly enhanced playing experience. In sum, this ease of play, and, more importantly, the highly musical nature of this Millennium’s voice, certainly demonstrate cause for the considerable demand for Steven Walter’s guitars.

Condition

This guitar has been very well-maintained over the years and thus has no structural issues to report. From a cosmetic standpoint, it does exhibit some signs of light, respectful use. We note: a few minor top dents and scuffs; a patch of light scratches and shallow impressions on the treble side at the waist; some finish scuffs along the perimeter of the heel and fingerboard extension, and, perhaps most significantly (though, frankly still quite subtle!), the finish on the top has checked along the grain, resulting in a slight textured feel.  EXCELLENT Condition

• Humphrey Millennium Style Classical Body
• Western Red Cedar Top
• Brazilian Rosewood Back and Sides
• Dual Shoulder Ports (With Plugs)
• Ebony Reinforced Hybrid 3-Fan Top Bracing with 3-Radial Braces on Outer Fans
• Spruce Bridgeplate
• Mahogany Back Bracing and Solid Linings
• Brazilian Rosewood Body Binding
• 7-ply Wooden Black/White/Black/Red/ Black/White/Black Top Purflings
• 3-Ply Wooden Side Purfling
• Single-Ply Back Purfling
• 9-Ply Backstrip and Endpiece
• Multi-Ply Rosette with Cross Marquetry Center
• French Polished Shellac Body Finish
• Millennium Style Elevated Spanish Cedar Neck
• Ebony Fingerboard with Partial 20^th Fret
• Brazilian Rosewood Headstock Veneer
• French Polished Shellac Neck Finish
• Rosewood Bridge
• 6-Hole Tie Block with Bone and Koa Cap
• Brass Sloane Tuning Machines with Snakewood Buttons
• Unbleached Bone Nut
• Compensated Bone Saddle
• 52  mm Nut Width
• 8.25 mm String Spacing (Approximately 4 mm Offset)
• 650 mm Scale Length
• TKL 9100 Series Double Arched Hard Case (Tweed Exterior/Crushed Brown Interior)