In the realm of legendary guitars, few are as iconic and storied as Jerry Garcia’s “Wolf” guitar. Crafted in 1972 by the visionary luthier Doug Irwin, the Wolf wasn’t just an instrument; it was a masterpiece of design and a testament to the collaborative spirit between a musician and a maker. This is the story of how the Wolf guitar came to be, straight from the words of Doug Irwin himself, revealing the intricate details and thoughtful decisions that made this guitar a legend.
Genesis of the Wolf: Asymmetrical Design and Balance
Doug Irwin embarked on the Wolf project in May 1972, driven by a desire to overcome the balance issues he observed in Alembic guitars, which were popular at the time. His solution was ingeniously simple yet profoundly effective: asymmetry. “Remembering the balance problems that Alembic was having, I decided to make it asymmetrical to give it good balance,” Irwin explained. This wasn’t a mere aesthetic choice; it was a functional design element aimed at enhancing the player’s experience. To bring his vision to life, Irwin started with a hand-drawn design and meticulously cut a master template from plexiglass. This template served as the blueprint, guiding the shape and contours of what would become the Wolf guitar’s distinctive body.
The Heart of the Wolf: Purpleheart Body
The core of the Wolf’s body is made from amaranth, more famously known as purpleheart. Irwin’s choice of purpleheart was far from arbitrary. He cited extensive research by the U.S. Forestry Department, which had rigorously tested woods worldwide for strength. Purpleheart emerged as a champion in stiffness, surpassing all others. “Extensive research and testing of numerous species of wood on a worldwide basis by the U.S. Forestry Department demonstrated that for strength, as measured by stiffness, purpleheart exceeds all,” Irwin noted. Initially grey when cut, purpleheart undergoes a remarkable transformation upon light exposure, turning a vibrant purple over time. Crucially, this dramatic color doesn’t bleed into the finish, and the wood isn’t oily or waxy, making it ideal for gluing. Irwin preferred Franklin “Titebond” wood glue for its reliability with purpleheart. Adding further dimension to the body, Irwin laminated both sides with four thin sheets of maple and purpleheart, each just 1/28th of an inch thick, creating a visually striking and structurally sound core.
Tonewood Selection: Maple and Walnut
For the top and back of the Wolf, Irwin chose bookmatched curly western maple. His expertise in tonewoods extended to understanding the nuances between woods of the same species grown in different climates. He highlighted the distinct characteristics of maple and walnut, as well as other hardwoods, when comparing those from the West Coast’s warm winters to those from the East Coast’s cold winters. This attention to detail in material selection underscores Irwin’s commitment to crafting an instrument of exceptional quality and tonal richness. “Both maple and walnut, as well as well as other hard woods, have distinct differences between the same species grown on the West Coast, with warm winters, and the East Coast, with very cold winters,” Irwin elaborated.
Neck Construction: Laminated for Strength
The neck of the Wolf guitar is a crucial structural element, running seamlessly through the body. Irwin constructed it from a robust lamination of fiddleback maple and purpleheart. This combination of woods not only contributed to the neck’s strength and stability but also added to the guitar’s overall tonal character. The through-body neck design further enhanced sustain and resonance, vital characteristics for Jerry Garcia’s expressive playing style.
Peghead Design: Unique and Robust
The peghead of the Wolf is a distinctive feature, showcasing Irwin’s innovative approach to both aesthetics and structural integrity. It’s overlaid on both sides with multiple thin sheets of maple and purpleheart. In a clever design choice, each layer is turned 180 degrees, alternating the grain direction. This not only created a visually captivating effect but also added significant strength to the peghead, particularly at the joint where it meets the neck—a traditionally vulnerable area. “The peghead is attached to the neck on the back with a ‘tongue’ of this overlay that runs past the first fret, a feature which is not only visually striking, but also adds tremendous strength at a traditionally weak area,” Irwin explained. This “tongue” extended past the first fret, reinforcing the neck-peghead joint.
Fingerboard and Frets: Playability Focused
The fingerboard of the Wolf is crafted from gaboon ebony, known for its density and smooth playing surface. It features twenty-four frets and is bound on each side with four delicate laminations of maple, purpleheart, and ebony. Irwin paid meticulous attention to fretwork, cutting each fret slot just to the edge of the binding, but not through it. The fret wire, a special nickel-silver alloy made by Dunlap, was notched at each end, ensuring that only the top of the fret extended to the fingerboard edge. This technique eliminated sharp fret ends, resulting in an exceptionally smooth and fast neck. “Using this process, you don’t see and, more importantly, don’t feel the ends of the fret wire, making the neck feel very fast and smooth,” Irwin detailed. Sterling silver marker dots adorned the left side of the neck, while a layer of marquetry made from tiny pieces of dyed holly added a subtle decorative touch beneath the binding.
Scale and Inlays: Premium Materials
The Wolf guitar features a 25-inch string scale, a comfortable and versatile length. The fingerboard inlays are made from luxurious African ivory, except for the first fret, which is inlaid with mother-of-pearl. These premium materials further emphasize the high-end craftsmanship and attention to detail that define the Wolf.
Versatile Electronics: Pickup Plate System
Understanding the evolving nature of guitar pickups in the 1970s and Jerry Garcia’s penchant for experimentation, Irwin designed the Wolf with a unique pickup plate system. This innovative system allowed for interchangeable pickup configurations, offering immense versatility. Initially, the Wolf was equipped with three Fender Stratocaster pickups. Irwin also provided Garcia with a second pickup plate designed for humbucker pickups, catering to different tonal preferences. This modular approach proved prescient, accommodating Garcia’s evolving sound over time. “The 70s were a time of evolution in guitar pickup design, so when Jerry got a new guitar, there was usually a period of experimentation,” Irwin recalled. The guitar featured a five-position Stratocaster-style pickup selector, master volume, and individual tone controls for the middle and front pickups. Two subminiature switches controlled pickup coil switching, and two ¼-inch phone jacks provided options for direct amp output or connection to Garcia’s effects loop. A subminiature switch toggled the effects loop in and out. The electronics cavity was shielded with silver print to minimize electromagnetic interference.
Hardware and Finish: High-Quality Components
Irwin selected premium hardware components for the Wolf, including chrome-nickel tuning machines and a bridge made by Schaller in West Germany. The switch plate, pickup plate, backplate, and serial number plate were all crafted from solid brass and plated with chrome-nickel, ensuring durability and a refined aesthetic.
The Original Peacock Peghead and the Eagle Transformation
Initially, the Wolf’s peghead was adorned with Brazilian rosewood facing and a large, elaborate peacock inlay. This peacock, crafted from abalone, mother-of-pearl, brass, and ivory, was a stunning visual centerpiece. The Wolf was also the first guitar to feature Irwin’s now-signature peghead shape. Interestingly, Irwin chose the peacock before settling on the eagle as his company logo. This original peacock-inlaid version of the Wolf is immortalized in Jerry Garcia’s self-portrait on the cover of his solo album “Compliments of Garcia.”
However, a few years after its delivery, the Wolf endured some mishaps during a Grateful Dead European tour, including a fifteen-foot fall onto concrete that miraculously caused no damage. A subsequent incident resulted in a minor crack in the peghead. When Garcia returned the Wolf for repair, Irwin, reassessing his early inlay work, decided to reface the peghead with ebony and replace the peacock with his signature eagle inlay, cut from mother-of-pearl.
The “Wolf” Moniker and Refinishing
During the repair and peghead refacing, Irwin also noticed the guitar needed refinishing. He seized this opportunity to inlay the word “Wolf” into the body and refinish the entire instrument. This refinishing and the addition of the “Wolf” inlay are what ultimately gave the guitar its enduring moniker.
Jerry’s Reaction and a New Commission
When Irwin delivered the completed Wolf to Jerry Garcia in May 1973, he was eager to gauge Garcia’s reaction. Garcia was immediately delighted. After playing it for just five minutes, he asked Irwin to build him another guitar. When Irwin inquired about Garcia’s preferences for the next instrument, Garcia’s response was remarkably open-ended and trusting: “…you already knew what he liked in a guitar, that I should make it the way I thought best, not to worry about how much it cost, just ‘don’t hold back.’” This extraordinary vote of confidence marked the beginning of another exciting chapter in Irwin’s guitar-making journey. For Irwin, delivering his work and receiving such enthusiastic appreciation was the ultimate reward, blurring the lines between work and passion. Garcia’s words, “Don’t hold back,” became a powerful mantra, inspiring Irwin to push his creative boundaries even further in his future creations.
The Jerry Garcia Wolf Guitar stands as a testament to Doug Irwin’s unparalleled craftsmanship and Jerry Garcia’s discerning musical vision. It is more than just a guitar; it’s a piece of music history, embodying innovation, artistry, and the special relationship between a luthier and a legendary musician.
