Every guitar luthier has a story, but few are as unconventional and compelling as Reuben Cox, the owner of Old Style Guitar Shop in Los Angeles. Cox didn’t just stumble into the world of guitar making and repair; he carved his own path, driven by a passion for sound and a democratic approach to instruments, regardless of their age or price tag. Whether he’s fine-tuning guitars for renowned musicians like Jackson Browne, crafting a groundbreaking rubber bridge for a Taylor Swift hit, or meticulously setting up a beginner’s acoustic guitar, Cox is on a constant quest for sonic perfection, and he’s inviting everyone along for the journey.
From his formative years in the woods of North Carolina to an advanced math and science academy, followed by an art degree in New York City and a career in college-level teaching, Cox’s trajectory seemed far removed from the guitar world. He admits that opening a guitar shop, especially during the depths of a major economic downturn, was never part of his plan. Adding to the unusual nature of his start, Cox’s initial guitar designs were born from enlarging a picture on a Kinko’s copier – a testament to his resourceful and artistic approach.
Inside Old Style Guitar Shop. Photo: Reuben Cox
Inside Old Style Guitar Shop, showcasing a range of guitars and Reuben Cox’s workspace.
Yet, for those who know Cox, his journey makes perfect sense. A self-proclaimed music fanatic and guitar enthusiast, Cox recognized early on that his talents lay outside of performing. Instead, he channeled his passion into building instruments as a hobby, utilizing art department resources and honing woodworking skills initially developed for crafting field cameras.
Fueled by his insatiable curiosity about sound, an openness to unconventional materials, and a belief in the value of affordable guitars, Cox has become an unexpected icon among artists and producers. His work, highlighted in the 2022 documentary Really Good Rejects, has garnered attention for its distinctive semi-hollow electric guitars and, perhaps even more notably, for his rubber bridge modifications, favored by artists like Bob Dylan and Phoebe Bridgers. From his Los Angeles workshop, Cox shared insights into his unique journey in the music industry.
From Art to Artistry: An Accidental Luthier
Cox’s entry into the world of luthiery was far from calculated. Living in New York City, he was immersed in the art scene, teaching at institutions like Cooper Union and Sarah Lawrence College, and working as a photographer. However, a deep-seated love for music and guitars was always present.
His access to sculpture workshops at Cooper Union and Sarah Lawrence became the catalyst for his hobby. “Just as a hobby, I was able to learn how to make one specific kind of hollowbody electric guitar,” Cox explained. He would meticulously craft one or two guitars each year, driven by pure passion and artistic exploration.
Despite his love for the instrument, Cox readily admits that musical performance wasn’t his forte. “As a teenager I got a guitar, and Mother Nature quickly let me know that I was in possession of no notable musical talent,” he chuckled. “I had the good sense to move on from that. But I’m a big music obsessive and have always loved guitars.”
West Coast Calling: Taking the Plunge into Retail
The decision to relocate to Los Angeles was prompted by his partner’s career, but it presented Cox with an unexpected opportunity. Faced with leaving behind his established life in New York, Cox saw the move as a chance to pursue his guitar passion in a new way.
“In the hysteria of the move, I just decided to open up a guitar shop,” he recalled. “I thought, If I crash and burn, I’ll just knock on the door of an art school in Los Angeles and try to pick up where I left off.” This bold move, launching a retail business during a significant economic downturn (2009-2010), highlights Cox’s adventurous spirit and confidence in his burgeoning skills.
Starting small and lean was key. “I set up a woodshop in the basement of my house in Los Angeles,” Cox described, “Around six months later, after building an inventory, I got a [retail] place in Silver Lake. The idea was small and cheap: Keep the overhead low, and just jump into it.”
Learning by Doing: Mastering Guitar Repair and Modification
While Cox had experience building guitars, the world of repair and modification was new territory. His approach was hands-on and resourceful. “I learned as I went,” he admitted. “I knew how to use woodworking tools, but as far as repairs and setups, I just learned on the job.”
The early years involved a steep learning curve. “The first three or four years in the shop were me nervously watching YouTube videos and hoping I didn’t destroy someone’s personal property by doing a poor refret or neck reset.” This honesty underscores his humble beginnings and dedication to mastering his craft.
Through repetition and experience, Cox honed his skills. “You get good at it by doing it over and over again,” he explained. “With lot of guitar repairs, you pull it off acceptably, but after you’ve done it for years, you’re like, Okay, now I’m really good at this particular skill. And I’ve done it a lot: If you count basic setups and repairs, I’ve probably done anywhere from 12–14,000 guitars.”
Inspired Designs: From Book Pages to Unique Instruments
Cox’s guitar designs are rooted in a blend of inspiration and resourcefulness. He credits Ralph Denyer’s The Guitar Handbook as an early influence. “It’s just a survey of the instrument with pictures of different models, like a 1940s Bigsby. And I just love the shape of it with that Florentine cutaway,” Cox shared.
His initial designs were born from a simple yet ingenious method. “I took this book to Kinko’s, threw it down on the Xerox, enlarged the picture to the size I wanted, and used that as the first template.” This DIY approach reflects his artistic background and willingness to experiment.
Affirmation and Confidence: A Boost from The National
A pivotal moment in Cox’s journey was receiving validation from established musicians. Before moving to Los Angeles, he connected with Bryce and Aaron Dessner of The National. “I was like, ‘Hey, I just finished building a few guitars. And you’re welcome to borrow them.’ So they borrowed a few,” Cox recounted.
The Dessner brothers, known for their meticulous approach to recording, ended up using Cox’s guitars on a record. “That gave me the ego boost to start this job, which I just kind of pulled out of thin air,” Cox acknowledged. “Had that moment not happened, would I be here now today? It’s hard to know. That was a crucial moment—a vote of affirmation that I could pull it off.”
One-of-a-Kind Creations: Embracing Variety and Feedback
Cox’s design philosophy centers on creating unique, individual instruments rather than mass-producing identical models. “I think they’re all one-offs. I just want to keep it interesting,” he stated. He embraces experimentation with pickups, wood types, and materials.
He values using reclaimed or older wood when possible. “Generally, lumberyard wood is kind of disappointing because it’s cut from young trees. It’s just fussy when you put it through a saw. If you can, find old wood, which is around, or recycle old furniture or something like that.” This preference for older materials connects to the “Old Guitar” theme and a sense of history and character.
While his guitars share a general shape and construction style (hollow-bodies with book-matched tops and backs), Cox strives for subtle variations. “But I try to keep them subtly different rather than locking in one specific design and making it over and over again.”
Los Angeles Influence: A Hub of Musical Innovation
The vibrant music scene of Los Angeles profoundly influences Cox’s work. “I think one thing that affects the guitars the most is that L.A. is a real repository for great musicians,” he observed. Working with highly discerning musicians provides invaluable feedback.
“Building guitars for someone like Jackson Browne—he wants to run it down until it’s perfect,” Cox noted. This pursuit of perfection, shared by both Cox and the musicians he works with, drives innovation. He sees collaboration as essential to refining his craft. “If I have some cockamamie idea for, like, a pickup or whatever, I can ask any number of people to try it out and see if it sinks or floats.”
The dynamic musical environment fuels creativity. “Exploring certain guitars, you hear a different sound, and it makes you write a song. That’s the kind of stuff that gets me most excited.”
Credibility Through Dedication: Serving All Musicians
Cox’s reputation has been built on hard work and a commitment to serving musicians of all levels. “Just working 65-hour weeks for a decade—and getting better and better at basic setups,” he explained. His shop welcomes everyone, from beginners to seasoned professionals.
“It’s very much a working man and working woman’s shop. I do a lot of setups on Fender Squiers—stuff that a lot of shops turn away,” Cox emphasized. He sees value in every instrument and every musician’s journey.
A close-up view of another old guitar showcasing Reuben Cox’s signature rubber bridge modification.
While Old Style Guitar Shop occasionally handles high-end collectible guitars, Cox’s focus remains on instruments for working musicians. “Interesting musicians who are touring and recording, who are young, often have less money,” he pointed out. His passion lies in seeing his creations used to make music. “It’s just much more exciting for me to see someone take something that I’ve built or modified and record a song with it.”
Visual Artist’s Eye: Aesthetics Matter
Cox’s background as a visual artist informs his approach to guitar making. “I always tell people—they’re like, ‘Oh, there’s this guitar, but I wish it was black. Is that shallow of me?’ And I’m like, ‘Hell, no, this is show business! Looks matter, you know?’” He understands the interplay between visual appeal and musical inspiration.
“It’s all intertwined. And maybe if something looks a certain way, it makes you want to pick it up and play it.” He recognizes that aesthetics can enhance the playing experience and spark creativity.
The Rubber Bridge Revolution: Transforming Old Acoustics
Currently, Cox is deeply engaged in “restoring a lot of these old guitars into this rubber-bridge thing that I invented.” This innovative modification has become a signature element of his work.
The rubber bridge concept emerged from observing a vintage banjo. “Blake [Mills] had this ’50s Harmony banjo that had a kind of muting system,” Cox recalled. Inspired by the banjo’s unique sound, Cox experimented with a rubber bridge on a guitar. “I just kind of knocked out a prototype—it took me like two hours to crank out this guitar. The next day I dropped it off at Blake’s house. He plugged it in and started playing. It was incredible.”
The rubber bridge imparts a distinctive, muted, and percussive tone, breathing new sonic possibilities into often overlooked “cheapo acoustics.” This modification has resonated with numerous artists, including Taylor Swift, who used a rubber-bridged guitar on her album Folklore.
Despite its growing popularity, Cox hasn’t actively promoted the rubber bridge. “It’s nothing I ever advertised, still to this day. It’s just been word of mouth,” he explained. The organic spread of its popularity speaks to its unique appeal and the inspiring sounds it unlocks. “People buy them and say, ‘Oh, my God, I went home. And the same evening, I wrote four songs!’ You know, it’s really been inspirational to a lot of people. That’s about as gratifying as it gets for a vocation.”
Reuben Cox’s journey is a testament to passion, ingenuity, and a deep appreciation for the character and potential within every guitar, especially the old ones. His Old Style Guitar Shop is more than just a repair shop; it’s a hub of creativity where old guitars find new voices and inspire musicians to create something truly unique.
