What happens when plywood meets music? We spoke with Peter Sesselmann from Peterman, a maker turning plywood into something a little unexpected: handmade stompboxes. These compact percussion instruments allow musicians to create rhythmic beats with their feet, adding a distinctive sound to live performances. In this interview, Peter shares his experience working with plywood, what makes it suitable for stompbox construction, and how a versatile sheet material finds its place in the world of music.
Ply Online: Can you tell us a little about yourself and how you got started making plywood stompboxes?
Peter Sesselmann: I started making stompboxes about 20 years ago, initially using predominantly solid timbers. However, I found that solid timber had a tendency to split along the grain, particularly in designs with narrow sections. This led me to experiment with different types of plywood. I quickly discovered that good-quality plywood offered greater strength, consistency and reliability. Over the years, plywood has become my preferred material for this type of construction.
Ply Online: Who are your main customers?
Peter Sesselmann: Working musicians, particularly solo performers and duos who want to create a fuller sound without needing additional musicians.
Unlike a drum machine, a stompbox is an instrument you actually play live, usually with your foot while playing guitar or another instrument. It allows performers to add rhythm and percussion to their music in a very natural and expressive way.
They're also popular with bands. A stompbox can replace certain elements of a conventional drum kit, reducing the amount of equipment that needs to be transported and the space required on stage.
For example, replacing a bass drum with a stompbox can make a significant difference when performing in smaller venues. It allows musicians to take on gigs where a full drum kit simply wouldn't fit, without sacrificing the rhythmic foundation of their sound.
Ultimately, my customers are musicians looking for practical, reliable instruments that help them perform more effectively.
Ply Online: Do you know where the idea of using plywood for guitar pedals or stompboxes comes from, and how this particular craft has developed over time?
Peter Sesselmann: Plywood has a long history in musical instrument manufacturing, although it's often associated with lower-cost instruments. In reality, plywood offers several advantages over solid timber, particularly when it comes to stability and consistency.
I think the preference for solid timber is largely driven by tradition and perception rather than practical advantages. For manufacturing, plywood can be a far more predictable material, allowing for consistent results without many of the problems associated with natural timber.
Ply Online: What do you think plywood brings to a stompbox that plastic or aluminium don’t?
Peter Sesselmann: I favour plywood over those materials primarily because it's easier to work with, more forgiving and requires less labour to achieve a good finish.
There's also the traditional connection between musicians and timber. Musicians tend to associate wood with good sound and quality instruments, and some are understandably reluctant to embrace products made from synthetic materials.
Plywood gives me the best of both worlds: the natural appearance and feel of timber, combined with the strength and consistency needed for modern manufacturing.
Ply Online: How does plywood influence stompbox design?
Peter Sesselmann: From a manufacturing perspective, plywood is an excellent material, particularly when using CNC machinery. Its consistency allows for accurate, repeatable cutting, even with relatively intricate shapes and narrow sections.
One of the biggest advantages I've found is using high-quality plywood that comes with a factory-applied UV finish. This means I can machine the components and have them almost ready for assembly straight off the CNC machine.
It eliminates much of the sanding, staining and varnishing traditionally associated with timber products, saving a considerable amount of labour while maintaining a professional finish.
Ply Online: Is there a particular type or grade of plywood that you consider the best for this kind of work?
Peter Sesselmann: For me, the most important consideration is quality and consistency rather than simply the species of timber.
I prefer the highest-quality plywood I can source, ideally with a factory-applied UV finish on both sides. This gives me a durable, attractive surface without having to spend hours applying finishes after machining.
The goal is to have components coming off the CNC machine that are virtually ready for assembly. Good-quality materials might cost more initially, but the savings in labour and reduced wastage make them worthwhile.
Ply Online: How much does the choice of timber affect the final product?
Peter Sesselmann: It has a significant effect on the appearance and durability of the finished product.
However, in my particular stompbox designs, the timber itself isn't responsible for producing the sound. That comes from the internal sound-producing components I've developed over the years. The wooden enclosure is primarily there to make the instrument practical, comfortable and enjoyable to play.
Appearance is also very important. These instruments are used on stage, often alongside beautifully crafted guitars and other musical equipment. They need to look the part as well as perform reliably.
Ply Online: Have you run into any challenges along the way?
Peter Sesselmann: One of my biggest challenges has been reducing the amount of labour required after machining.
In the past, I've had plywood suppliers deliver materials with inconsistent quality and finishes. This meant spending considerable time sanding, staining and varnishing components just to get them to a standard I was happy to sell.
Switching to higher-quality, prefinished plywood with a UV coating has made an enormous difference. Much of that finishing work can now be eliminated, allowing me to concentrate on assembly and the more important aspects of the instrument.
For a small manufacturer like myself, reducing unnecessary labour is essential to keeping products affordable.
Ply Online: What skills do you think are most important to get right?
Peter Sesselmann: I try to embrace modern manufacturing techniques wherever they make sense, while retaining the character and individuality of a handcrafted instrument.
I use CNC machinery for virtually all the timber components, along with 3D printing, laser cutting and engraving for various other parts.
I also have certain components manufactured by specialist suppliers. These are generally individual parts rather than complete products, which I then assemble and finish in my own workshop.
For me, the important skill is knowing how to combine these different processes effectively. Modern technology allows a small manufacturer like myself to produce accurate, consistent components, while the final assembly, testing and attention to detail remain very much hands-on.
I don't think modern manufacturing and traditional craftsmanship are mutually exclusive. In fact, they complement each other extremely well.
Ply Online: If someone in Australia wanted to give stompbox making a go, where would you suggest they start?
Peter Sesselmann: I'd suggest starting with some basic woodworking skills, watching online tutorials and simply experimenting. Trial and error is a great way to learn.
I have some DIY videos online, and I also supply the sound-producing components separately. This means someone can concentrate on designing and building their own wooden enclosure without having to develop the electronics from scratch.
In fact, I already supply components to other manufacturers who incorporate them into their own stompbox designs.
For anyone considering making stompboxes commercially, I'm always happy to discuss supplying components at wholesale prices. This allows other makers to create their own designs, perhaps tailored to the particular needs or preferences of their customers, while benefiting from the sound technology I've spent around 20 years developing.
One of my main motivations has always been helping musicians get out there and perform. Making a living from music isn't easy these days, and if I can create products that help musicians entertain audiences, play more gigs and hopefully earn a little more money, then I consider that a worthwhile achievement.
Photo credits: Peter Sesselman
