If you’ve spent any time around vintage guitars, you’ve heard of George Gruhn. George opened his first store in 1970, and since then he’s become one of the most respected voices in the vintage instrument world—part scholar, part dealer, part keeper of the flame.

George has built his reputation on deep knowledge, long experience, and an obsessive dedication to learning. But even with all that under his belt, he’s the first to admit that something new is happening in the world of authentication—and it’s worth paying attention to.

For decades, dealers and collectors have leaned on the blacklight as a go-to tool for authentication, even on the most valuable instruments where the stakes are highest. The idea was simple: if it glows, it is old lacquer; if there is a dark, non-glowing area, something untoward has happened. Blacklights became fixtures in every vintage guitar shop, rolling around in drawers and resting atop repair benches. Some stores even installed “blacklight booths,” entire rooms filled with wall-mounted UV lamps to inspect instruments more thoroughly.

In the ever-challenging realm of art and artifact authentication, scientific precision is paramount. At the intersection of chemistry, history, and cultural heritage stands Dr. Gene Hall. Dr Hall is a world-renowned analytical chemist and professor at Rutgers University, and he currently sits on the Advisory Board for the Metropolitan Museum of Art in New York. Over the course of a career spanning more than four decades, Dr. Hall has published extensively on spectroscopy and trace chemical analysis, earned national recognition for his pioneering laboratory work, and trained generations of scientists.

Tom Bukovac is one of the most recorded guitarists of the modern era; a studio legend whose tone, timing, and taste have made him a trusted presence on thousands of records. But beyond the session work, Bukovac is also a deeply serious student, user, and fanatic of vintage guitars.

Bukovac came by the shop for a conversation about the guitars that shaped him, what it really means to preserve vintage gear, and why authentication is more than just peace of mind — it's a way to preserve the truth and legacy of instruments.

Joe Glaser has been repairing guitars professionally since the late 1970s, earning a reputation as one of the most respected—and innovative—figures in the instrument world. Based in Nashville, Glaser Instruments has become a somewhat behind-the-scenes hub for elite players, collectors, and builders, combining traditional repair expertise with cutting-edge tools and a deep respect for data.

We sat down with Joe for a wide-ranging conversation about the evolution of guitar repair, the myth of untouched…

Ron Ellis is widely regarded as one of the finest pickup builders working today. But before he ever wound a pickup coil, he spent decades immersed in scientific research at some of the most advanced laboratories in the country. His unusual background—combining high-level experimental physics with a deep, hands-on understanding of materials—has given him a unique perspective on vintage pickups, manufacturing history, and why old guitars sound and feel the way they do.

In the evolving world of art, artifact, and instrument authentication, the integration of hard science has never been more essential. At the forefront of that integration is Dr. Tom Tague, a physical chemist whose career spans more than three decades. Dr. Tague is recognized internationally for his work in applied spectroscopy, conservation science, and materials analysis. After earning his Ph.D. in Physical Chemistry from the University of Utah and completing postdoctoral research at the University of Virginia, he went on to publish over 100 peer-reviewed manuscripts and secure multiple patents in the field. Today, he serves on the Visiting Advisory Committee of the Metropolitan Museum of Art and advises institutions and collectors around the world.