At the Bench with the Luthier Behind Stumptown Stringworks
We spoke to Aaron “Cash” Olney who runs Stumptown Stringworks out of his Portland garage workshop. What started as a punk guitarist tinkering with broken gear in the early ’90s has grown into a boutique luthier practice rooted in honesty, precision, and tradition. We sat down with him to ask a few questions about his journey, his craft, and what keeps him coming back to the bench.
Q: What was the first guitar you ever owned?
A: A Yamaha classical. My mom got it for me when I started taking lessons.
When did you first start repairing instruments?
Around ’92, when I was about 20. I was playing in a punk band, and I’d run into people at shows with shorts, crackling pots, or dead pickups. Since I soldered airplane phone components at my day job, fixing guitars for friends felt natural.
Do you play in bands, or a porch picker these days?
I played in bands through my 20s and early 30s, but now I’m a porch picker. Work keeps me busy.
What’s the most common repair you see?
Setups. Wood shifts with the seasons, and strings keep everything under tension. Action, relief, fret ends… All those things change with the seasons and need adjusting once or twice a year.
How do you decide what “playing its best” means?
The player decides. I bring experience and opinions, but every instrument is personal. It always starts with a conversation about style, goals, and how to get there together.
What repair do you secretly love, even if it’s tedious?
Cutting bone nuts and saddles. Swapping plastic for bone can bring a cheap guitar back to life.
What tools are always on your bench?
Chisels, a hand plane, files. But the one I can’t live without is my pattern maker’s vise. It’s my third hand.
“Players are bringing you their instruments, and it’s usually the most important thing they own. If you cut corners or aren’t straight with them, the trust is gone.”
What’s the difference between “good enough” and “right”?
“Good enough” means lacking the skill or honesty to do it right. I don’t accept that. If I can’t do something properly, I’ll get you to someone who can.
Why is fairness and honesty so vital in this trade?
Fairness and honesty aren’t optional in this trade — they’re the whole deal. Players are bringing you their instruments, and it’s usually the most important thing they own. If you cut corners or aren’t straight with them, the trust is gone. But when you treat the work with respect, you build relationships that last for years.
How do you know when it’s time for a setup?
Buzzing, poor intonation, tuning instability, or just fighting your guitar more than playing it. Seasonal changes in Portland make setups a regular need.
What’s the best upgrade on a budget?
A bone nut. It’s a small part that makes a big difference.
Favorite smell in the shop?
Gibson lacquer before it fully cures. Smells like vanilla & toasted marshmallows.
What’s your favorite part of living and working in Portland?
The people. The city’s quirky charm and the energy of its music scene keep me here.
What’s one repair you’d want people to leave to a pro?
Neck resets. You can DIY a setup and learn, but a bad neck reset can ruin a guitar.
Q: What keeps you coming back to the bench after all these years?
A: Love of guitars, love of music, and Portland’s musician community.
Q: Weirdest thing you’ve used as a slide?
A: A Bic lighter. Back when I smoked.