“Kirk Hammett was definitely influential. Seeing a player of that caliber using one of our guitars helped people realize we were serious”: How Tom Anderson changed the guitar industry

Since founding Anderson Guitarworks in 1984, boutique builder Tom Anderson has pursued a singular vision: creating electric guitars that deliver exceptional playability, tone and consistency. He started out in the late ‘70s with Schecter Guitar Research, where he helped pioneer the replacement parts movement while learning the mechanics of modern manufacturing.

When corporate changes pushed Schecter toward imported parts and production, Anderson left to build guitars on his own terms. It began in a garage workshop and eventually grew into one of the world’s most respected boutique brands.

Today, as Anderson prepares for the future, longtime customer-turned-business partner Markus Spohn is helping ensure the legacy continues.

How did guitars become your life’s path?

Tom Anderson: I started playing guitar when I was very young, and it was really all I ever wanted to do. After graduating from high school, I didn’t go to college – I just kept playing and trying to make a living in music.

I played a lot of shows at night and worked in music stores during the day doing repairs. I wasn’t building guitars yet, but I was installing pickups, doing fret work and learning how guitars were put together.

How did you get involved with Schecter Guitars?

Anderson: Dave Schecter worked at a repair shop in LA and I would go there to buy parts. Through those visits we became friends. When he left to start Schecter Guitar Research, I became one of the first employees. That’s really where my education in manufacturing guitars began.

What did you learn during the Schecter years?

Anderson: It was a huge learning experience. At the time Schecter wasn’t really a guitar building company in the traditional sense. We were figuring things out as we went. We made metal parts, wood parts, plastic parts, pickups, finishes, and basically everything required to assemble guitars.

Because none of us had worked in a big factory before, we approached problems from a fresh perspective. Sometimes that meant doing things differently than the established companies.

There were as many bad experiences as good experiences as we learned. There wasn’t much investment in machinery or production technology – the thinking was, “We have labor, so let’s just keep doing it this way.” That stuck with me; when I eventually started my own company, I wanted to invest in tools that improved consistency and quality.

What ultimately led you to start Anderson Guitarworks?

Anderson: In the early ’80s Schecter brought in investors and began shifting toward importing bodies and necks from Japan. That wasn’t really the direction I wanted to go. Dave actually encouraged me to start my own business. His advice was that if you own the company yourself, you’re not beholden to investors telling you how to run it.

So in 1984 I left and began working out of my garage. At first we were just supplying parts like bodies, necks and pickups to repair shops and other builders. My goal wasn’t even to build complete guitars – but we eventually started doing it in 1986, and it was much more fun and rewarding.

Anderson guitars became known for technological innovation. Where did that come from?

Anderson: Directly from my earlier experiences. I wanted to make guitars that were incredibly consistent. In 1988 we bought our first CNC vertical machining center.

I’d given the CNC company a guitar neck and asked if they could reproduce it accurately with the machine. When they demonstrated that they could carve a neck with incredible precision, I decided to take the plunge, even though the machine cost four times our house payment each month.

It could perform multiple operations at once, like cutting body contours, drilling bridge holes, shaping neck pockets and carving three-dimensional surfaces. That dramatically improved consistency. It didn’t replace craftsmanship, but it did eliminate much of the tedious work so we could focus on the finer details.

These machines were actually designed for metalworking, not really for wood. Not even the big guys like Fender and Gibson were using the CNC machining centers. They were still using CNC routers, which are limited in comparison.

Another key innovation was your adoption of UV finishes in the early 1990s.

Anderson: That came through experimentation with Bob Taylor of Taylor Guitars as we explored new technologies. UV finishes cure almost instantly under ultraviolet light, allowing guitars to be polished quickly without waiting weeks for lacquer to harden.

By 1992 we were showing fully UV-finished guitars at NAMM. It took plenty of trial and error, but it ultimately gave us a much more consistent finish.

Was there a moment when you realized Anderson Guitarworks had truly arrived on the scene?

Anderson: In days before the internet, exposure mostly came from magazines, artists and trade shows. NAMM was always a big deal for us; our first show was in 1986 and that was the first time people outside of Southern California saw what we were doing.

Another big moment came when Guitar Player magazine did a Tele-style guitar shootout in the early ’90s. We submitted three guitars and ended up placing first, second, and fourth! That kind of visibility meant a lot back then – magazines were really the main way players learned about new gear.

Were there artists who helped put Anderson guitars on the map?

Anderson: Kirk Hammett was definitely influential early on. Seeing a player of that caliber using one of our guitars helped people realize we were serious about performance instruments. Steve Vai also played our guitars before he signed with Ibanez.

When players like that pick up your guitars it creates awareness – other musicians pay attention to what they’re using. But more than any single artist, I think it was a combination of players discovering the guitars and realizing how consistent they were.

Markus, your path into the company started as a customer. How did that happen?

Markus Spohn: I was living in San Francisco and working in the tech industry when a guitar dealer suggested I try a Tom Anderson guitar. I bought one, then another, and eventually I owned several.

I visited the factory in 2008 while I had a custom guitar on order. During the visit I noticed the company was using a very old computer system to manage orders. Since I worked for Salesforce, I mentioned that it might be possible to build a modern system.

I started experimenting with prototypes in my free time and gradually became more involved with the company.

How did you guys eventually become partners?

Anderson: After my business partner, Laurie, passed away in 2017, I started thinking about the long-term future of the company. We have employees who have been here for decades. This place supports many families, and I didn’t want the business to disappear if something happened to me.

Markus had become a trusted friend and advisor. Eventually we began discussing the possibility of him joining the company full time. About five years ago he moved from Silicon Valley to Southern California and stepped into that role.

What has that transition been like?

Spohn: The biggest realization was that guitar building is a team effort. We have incredibly skilled people here who have been doing this for decades. My role is mainly ensuring continuity for business. That includes understanding guitar design and the systems behind production. I’m also learning a lot of the things that only Tom can do.

What ultimately separates an Anderson guitar from other high-end builders?

Spohn: It’s attention to detail at every stage, from selecting wood to final setup. Every guitar is built to be the best it can possibly be. We both play every single guitar before it leaves the factory.

Anderson: Every guitar builder has a personality that shows in their instruments. For me the most important thing is how a guitar plays. If it doesn’t feel right, nothing else matters. I grew up playing great vintage guitars, but I always wished they could be a little better. I’m still trying to build the guitar I wish I’d had when I was 20.

Looking ahead, where do you see Anderson Guitarworks going?

Spohn: The core mission won’t change. Anderson guitars are known for playability, precision and innovation. Tom and I come from different generations and musical backgrounds, so I’ll probably bring some new ideas.

But the goal isn’t to replace what exists – it’s to add to it while honoring the heritage.

• Find out more at the Anderson Guitarworks website.