Bruce Bennett

I started out like any kid wanting to learn to play guitar. I thought that guitars were cool and that “chicks” would dig me. I soon found out guitars were an expensive luxury, especially during the time period in which I started, which was the early to mid ‘70s. My old, cheap Silvertone acoustic wasn't cutting it and I very soon outgrew its potential. When I saw my first Les Paul, it was love at first sight. I can see it like it was yesterday. It was 1977, during 6th period Guitar class at Tyner Jr. High school. A classmate brought his brand spanking new Les Paul Custom in for the first time. It was all Black with gold hardware and plenty of pearl. By the end of class, I wanted one BADLY. I was 14 and in love with a guitar. It was about as bad a crush as any kid that age could have (except for maybe Erin Gray or Jacqueline Smith)!

Anyway, I did what any 14-year-old American kid back then would have done - I asked my Dad for a Les Paul that night. Several days later, we stopped by the local Gibson dealer and asked about pricing. This was one of my very first experiences with a music store. The salesman was very professional and we were given the "Family” price of $800.00, which included the Gibson protector case. My dad thanked the salesman and walked out rather quickly. I knew something was bothering my dad, so I asked him what was wrong. He turned to me and said, "Son, our family car didn't cost $800.00. So if you want one of those, you had better learn how to make one. I'm not paying $800.00 for a “hunk of wood." Knowing that dear “ole” dad had given THE FINAL WORD on that idea, I got busy in a stifling hot metal chicken coop/shed behind my house.

Two full years later I finished my first, fully-playable guitar. It SUCKED! It was as bad as any first guitar built by a 16-year-old who knew nothing about woodworking could be. But, it was all mine and it played. Most importantly, however, it gave me plenty of ideas about how to do it better the next time. Two more years and another very bad guitar passed before I went to work for local repairman/luthier named Terry Atkins, who I still say taught me a great deal about how NOT to build guitars. He also taught me to raise my standards when it came to the quality of work that I was willing to accept. That year (1982) was the year that I built my first guitar of acceptable quality.

The next 8 years were spent working at local music stores as a repairman/salesman, and weekend warrior musician/luthier. My reputation grew, along with my workload, until 1992 when I got a call from Frank Johns at Gibson asking me to come work at the Steinburger/Tobias division in Nashville. I stayed at Gibson until 1994, when I was "allowed to leave," since I would not sign a non-compete agreement. This situation was all due to a unique guitar design that I had submitted for corporate approval. That design ultimately became the "Warrior" brand of instruments. I was with Warrior from 1995 until 1998, when I decided to start my own prototyping shop. I designed a line of effects pedals, which did quite well, as well as custom amps, cabinets and guitar designs.

In 2001, I went to work for The Pickers Exchange as a repairman/salesman, while still building customs part-time. It was during this same time that I met John Backlund through the Harmony Central Forums. John had posted several VERY exciting drawings of some rather unique guitar designs. After several phone conversations and lots of e-mails, John and I formulated a business arrangement. Meanwhile, I was still working at the Picker’s Exchange. This is where I met my current business partner, Kevin Maxfield. After hearing about "The Project," we decided to form a new corporation for the manufacture of several unique products, all of which are geared toward the music industry. In 2007, Bennett-Maxfield Music, Incorporated was born. John, Kevin and I are endeavoring to bring something new, exciting, unique and “retro-futuristic” to musicians. We hope you like it as much as we do.

-- Bruce Bennett