1995
AL#43 p.65
Ervin Somogyi
▪ Recognizing the accomplishments of the volunteer work of NCAL (Northern California Association of Luthiers) with a special award, the Swiss Army Banjo.
1995
AL#43 p.61 read this article
Robert Lundberg
▪ The reviewer finds that this book is too limited in its scope, and recommends against its purchase. However, he maintains that a sensibly revised edition would be an important and welcome resource, and that such a revised edition is in the works.
1995
AL#43 p.60 BRB4 p.466
John Calkin
▪ The reviewer finds that this should be a useful book for any but the most experienced repairman.
1995
AL#43 p.59 BRB4 p.495
James Vanderplas
▪ A makeshift PVC pipe electric mandola stand.
1995
AL#43 p.59 BRB4 p.495
Filippo Avignonesi
▪ Adding two fairly stiff but very light braces between the 3 center fan braces between the waist bar and the bridge patch to add a little more kick to a redwood topped classical guitar.
1995
AL#43 p.59 BRB4 p.495
Tom Ribbecke
▪ Reversing the blade in X-acto or pro-edge razor saws for mitering purfling.
1995
AL#43 p.59 BRB4 p.495
Norbert Pietsch
▪ A custom pull hammer to pull loose stubborn banjo tone rings and bracket bands when removing them from their rims.
1995
AL#43 p.58 BRB4 p.495
George Gorodnitsky
▪
1995
AL#43 p.58 BRB4 p.495
Chris Foss
▪ A cobbled together glue roller to edge glue 6 hammered dulcimer tops at a time, each made up of 4 pieces.
1995
AL#43 p.58 BRB4 p.495
Andy DePaule
▪ Using a table saw with a dado blade to rough carve the edges of tops and backs for archtop guitars, mandolas, and violins for lack of a carving machine.
1995
AL#43 p.57 BRB4 p.495
John Miles
▪ A homemade alternative to a commercial polishing product in which grains of abrasive are bonded onto a rubbery layer.
1995
AL#43 p.57 BRB4 p.495
Jonathon Peterson
▪ Using an inspection light and mirror to locate the position of the old brace from leftover glue through the sound hole on a damaged American made Neapolitan mandolin.
1995
AL#43 p.56 BRB4 p.495
Bill Daniels
▪ A router jig cuts time in half when doing violin edge work.
1995
AL#43 p.54 BRB4 p.405
Andy DePaule
▪ The pedal steel is an instrument, it is also a precision machine.
1995
AL#43 p.54 BRB4 p.81
Robert Lundberg
▪ The rebate plane used for fitting lute ribs and the modifications necessary to make the Lie-Nielson scraper plane fully functional.
1995
AL#43 p.52 BRB4 p.442
Michael Darnton
▪ What is Nussbaum? Is there such a thing as irreparable damage?
1995
AL#43 p.50 BRB4 p.416
Rick Turner
▪ Turner talks about the Grateful Dead and some of their gear.
1995
AL#43 p.48 BRB4 p.432
Harry Fleishman
▪ Fleishman examines and enjoys two tools from Stewart-MacDonald, the Bridge Saddle Routing Jig and the Adjustable Fret Slotting Saw.
1995
AL#43 p.46
Wayne Kelly
▪ If you have access to a PC (and you obviously do) you can use this article to set up your own fret slotting system. Not about how to cut slots, but where to cut them.
1995
AL#43 p.34
Staff
▪ An in-depth description of the 1995 Guild convention in Tacoma, with 73 photos.
1995
AL#43 p.28 BRB4 p.217
Jess Wells
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1995
AL#43 p.24 BRB4 p.212
Jonathon Peterson Jess Wells
▪ Wells specializes in the creation of early stringed instruments. Here he discusses that particular market, his training, and the history of the viola da gamba. With 17 photos.
1995
AL#43 p.18 BRB4 p.198
Nicholas-Von Robison
▪ Both of these woods have recently become available as body wood for stringed instruments. Robison offers a technical look at two beautiful woods, and tries to predict their futures.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#43 p.11 BRB4 p.206
Jim Williams
▪ Williams discusses the building style he has borrowed from Greg Smallman for classical guitars. With 14 photos, plus drawings.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#43 p.8 BRB4 p.202
Todd Brotherton Jim Williams
▪ Australians continue to make a mark in the evolution of the guitar. Williams made his mark as an author, as well. He discusses his background and his instruments.
1995
AL#43 p.7 read this article
Marc Soubeyran
▪
1995
AL#42 p.64
Martin Dumas
▪ Extracting and printing the outline of an instrument from a photograph.
1995
AL#42 p.64 BRB4 p.493
Ric McCurdy
▪ Some tips gleaned from John Monteleone and company about Jimmy D’Aquisto’s scraper sharpening methods.
1995
AL#42 p.64 BRB4 p.495
Chris Foss
▪ Writing pertinent information regarding jig use directly onto the jig itself.
1995
AL#42 p.64 BRB4 p.497
Tom Ribbecke
▪ Removing cyanoacrylate residue from fingers using a pumice stick.
1995
AL#42 p.64 BRB4 p.491
George Gorodnitsky
▪ Two small metal blocks between two jewelry saw blades to cut straight or curved strips with parallel edges.
1995
AL#42 p.63
Tim Earls
▪ An epoxy job when re-fretting a Japanese 70s Epiphone.
1995
AL#42 p.63 BRB4 p.492
Martin Dumas
▪ Oven controls used for thermostatic temperature control of electric bending irons.
1995
AL#42 p.63 BRB4 p.493
Bill Daniels
▪ A simple sander to thickness rib stock for violins and violas.
1995
AL#42 p.62 BRB4 p.492
Filippo Avignonesi
▪ An unproduced design for a string tension simulation jig.
1995
AL#42 p.60 BRB4 p.442
Michael Darnton
▪ Why can’t I get the proper degree of polish from my varnish? How high should a saddle be? Why do my violins come apart during varnishing? What stylistic mistakes are most common? Why is oil varnish so nasty?
1995
AL#42 p.57 BRB4 p.481
Robert Lundberg
▪ The reviewer finds that although the abstracts are clear and well written, the quality and usefulness of the abstracted material is not judged. The unwary may be sent on a long search for information of little, or dangerous, use.
1995
AL#42 p.57 BRB4 p.466
Don Bradley
▪ The reviewer finds that the authors have made an invaluable reference for studying the vibration of all types of musical instruments.
1995
AL#42 p.56 BRB4 p.465
John Calkin
▪ The reviewer is enthusiastic about this picture book but decides that it may have no relevance to the life of a typical luthier.
1995
AL#42 p.54 BRB4 p.431
Harry Fleishman
▪ Fleishman examines the Highlander acoustic guitar pickup and decides it’s pretty good, but not perfect. He has never met the perfect pickup, so far.
1995
AL#42 p.52
Cyndy Burton
▪ A list of lutherie schools, classes, and individual instruction.
1995
AL#42 p.51 BRB4 p.416
Rick Turner
▪ Turner’s system of tuning an acoustic guitar pickup is elaborate. He also talks about amps for the acoustic guitar.
1995
AL#42 p.48 BRB4 p.194
Cyndy Burton Des Anthony
▪ An Australian guitarmaker talks about Australian wood, his instruments, and the Australian vacation system.
1995
AL#42 p.46 BRB4 p.196
Duane Heilman
▪ Heilman offers plans for a drum sander that has a radius built into the drum.
1995
AL#42 p.44 BRB4 p.190
Chris Foss
▪ Foss describes his permanent setup for drilling tuning pin and hitch pin holes in dulcimer pin blocks.
1995
AL#42 p.42 BRB4 p.188
David Riggs Klaus Reischel Peppe Reischel
▪ The Reischels make Landstrofer tuners, high-quality German gears for classical guitars.
1995
AL#42 p.40 BRB4 p.192
Alan Carruth
▪ Carruth ran mode and frequency tests on the old top and the replacement top.The goal was to reproduce the quality of the old airlines-damaged top.
1995
AL#42 p.26 BRB4 p.160
John Koster
▪ Koster explains what you can hope to gain by examining museum instruments, how to approach a museum, and what to do when you get there. With 21 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#42 p.22 BRB4 p.184
Keith Hill
▪ A maker of classical guitars harvests some strange local trees to try out as instruments.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#42 p.12 BRB4 p.174
Robert Ruck
▪ Ruck spends most of his time in this lecture talking about top design and finishing. With 13 photos and several drawings, plus a detailed list of his finish materials and procedures.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1995
AL#42 p.8
Peter Manuel
▪
1995
AL#42 p.7
Paul Neri
▪
1995
AL#42 p.3 BRB4 p.151 read this article
Gila Eban
▪ One of the world’s best luthiers passes on.
1995
AL#41 p.58
Chris Foss
▪
1995
AL#41 p.58 BRB4 p.491
Robert Steinegger
▪ Temporary modification of an Everly guitar mold to a Martin 00 size.
1995
AL#41 p.58 BRB4 p.490
Antonio Masiello
▪ A tool much like a miniature bandsaw which uses a string of a given size to cut a slot for a string of the same size.
1995
AL#41 p.58
Harold Turner
▪ Making business cards out of paltry wood pieces.
1995
AL#41 p.58 BRB4 p.495
Chris Foss
▪ A simple one-width-of-cut-fence that drops into the miter gauge of a table saw.
1995
AL#41 p.58 BRB4 p.489
Dale Randall
▪ This tool with a curved blade allows for gentle planing inside the radius of a brace.
1995
AL#41 p.58 BRB4 p.488
Robert Steinegger
▪ A go bar setup Steiny style.
1995
AL#41 p.58 BRB4 p.486
Tom Ribbecke
▪ Achieving brush free results for lacquer in the rain and cold.
1995
AL#41 p.58 BRB4 p.488
Jorge Gonzalez
▪ A tool for measuring inside instruments with tiny sound holes.
1995
AL#41 p.56 BRB4 p.442
Michael Darnton
▪ Why is there a step in the neck behind the nut of my fiddle? What angle are the junctions of the ribs cut to at the corners? What’s the difference between French and Belgian cello bridges? Zits in the varnish? Why does my French polish crackle?
1995
AL#41 p.54
Ervin Somogyi
▪ Somogyi believes that ethics is a cloudy but deep issue that all luthiers must contend with. Simply trying to do your best work is not the end of the issue.
1995
AL#41 p.53 BRB4 p.464
John Calkin
▪ The reviewer finds that if you wish to push your inlay work beyond the traditional patterns you may find this book indispensable.
1995
AL#41 p.52 BRB4 p.463
Tom Ribbecke
▪ The reviewer finds that this book sets a new standard for guitarmaking books in general, and that it should affect the evolution of the archtop guitar for many years to come.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#41 p.51 BRB4 p.197
Bob Milburn
▪ Where to put the center on a hollow radiused form.
1995
AL#41 p.50
Cali Hackman
▪ Quest for other hurdy gurdy builders.
1995
AL#41 p.50 BRB4 p.71
Alan Carruth
▪
1995
AL#41 p.50 BRB4 p.22
James Holst
▪ 3M’s gold free-cut A-weight open coat has no stearates or additives and lasts a very long time.
1995
AL#41 p.50 BRB4 p.22
Stephen Marchione
▪ A good article on the subject can be found in the Dec 1989 issue of Better Homes and Gardens.
1995
AL#41 p.48 BRB4 p.429
Harry Fleishman
▪ Fleishman examines the battery-powered Stealth guitar tuners from Sabine, which are meant to be mounted on the guitar. He finds them useful but aesthetically hard to hide on the instrument.
1995
AL#41 p.47 BRB4 p.416
Rick Turner
▪ Turner discusses solder, and a pickup pan pot.
1995
AL#41 p.40 BRB4 p.144
Ronald-Louis Fernandez
▪ It’s untrue that all the old builders were stodgy old putzes locked into a cold tradition. Some of their guitars were pretty far out. With 21 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#41 p.38 BRB4 p.152
Nicholas-Von Robison Lara Espley
▪ Espley is a Canadian maker of wonderfully distinctive instruments. Here she talks about her favorite woods (purpleheart, koa), her training, and the gender gap.
1995
AL#41 p.34 BRB4 p.140
Jonathon Peterson
▪ Seven luthiers explain how they cut that oval slot.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#41 p.29 BRB4 p.137
Debbie Suran Nicholas-Von Robison
▪ Suran’s design allows for the least amount of tension over the side bridges, which contributes to instrument stability. A full-scale instrument plan. See the GAL website for a low-rez preview.
1995
AL#41 p.26 BRB4 p.134
Nicholas-Von Robison Debbie Suran
▪ Suran is a performer/builder of hammered dulcimers.
1995
AL#41 p.18 BRB4 p.154
John Calkin
▪ The goal is to make the lightest possible instrument that will stay in tune. Calkin examines bracing, bridge design, scale lengths, wood, and hammer design. With 9 photos and several drawings.
1995
AL#41 p.10 BRB4 p.126
Graham Caldersmith
▪ Caldersmith is working to expand the voice range of guitar ensembles, both classical and steel string. With 4 photos and frequency response graphs. The first installment of Caldersmith’s work with a classical guitar family came way back in AL#18.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#41 p.7 read this article
Fred-T. Dickens
▪
1995
AL#41 p.7 read this article
John Higgins
▪
1994
AL#40 p.61
John Calkin
▪ An opaque projector as a handy tool in the shop.
1994
AL#40 p.61 BRB4 p.489
Andres Sender
▪ This jig flattens 4 pegs, one side at a time, and is powered by a screen door type spring hinge.
1994
AL#40 p.60 BRB4 p.490
Jonathon Peterson
▪ Small fluorescent lights used as inspection lights, small enough to fit through F holes.
1994
AL#40 p.60 BRB4 p.488
Jonathon Peterson
▪ A fir 2X6 screwed to a bench vice to extend the moveable jaw width of the end of the workbench.
1994
AL#40 p.56 BRB4 p.427
Harry Fleishman
▪ Fleishman tests the L.R. Baggs Micro Drive preamp and the MEQ-932 preamp available from Martin. Both units are for acoustic guitars, and the reviewer found them both to be a good value but not necessarily interchangeable.
1994
AL#40 p.54 BRB4 p.416
Rick Turner
▪ Have you got a new idea about wiring a guitar or bass? Turner helps you decide if it may be worth the effort of trying it out. The fact that a new wiring system will work doesn’t mean anyone will want to hear it. Or buy it. Or care at all.
1994
AL#40 p.53
Cyndy Burton
▪ A very selective list of American and world lute makers.
1994
AL#40 p.50 BRB4 p.82
John Calkin
▪ Calkin’s pair of articles first takes a look at Vreeble, a form of lacquer-based crackle paint, and then at refinishing an electric bass with curly maple veneer.
1994
AL#40 p.42 BRB4 p.116
Bryan Galloup
▪ Detailed captions for 36 photos explain how to cook the neck out of a flattop and put it back on the way it ought to be.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#40 p.40 BRB4 p.112
C.F. Casey
▪ Casey devised his own methods of testing fingerboard woods for strength and abrasion resistance. His results will probably surprise you.
1994
AL#40 p.38 BRB4 p.114
Jonathon Peterson Jim Roden
▪ Roden is a dulcimer maker and a forester, so he understands that we need to preserve forests and we need to cut them, too. He freely addresses both sides of the coin.
1994
AL#40 p.28 BRB4 p.102
Dan Erlewine Tom Ribbecke Fred Campbell David Howard Sheldon Dingwall Harry Fleishman David Colburn Kathy Currier Will Bremers Jack Langley John Jordan Dana Bourgeois Heidi Spurlin Ken Fallon Dave Schneider Cary Clemments Ron Chacey Bart Reiter Mike Jarvis Greg Hoffman Dave Lindahl Tom Costanza Chuck Erickson Ralph Novak
▪ Repair pricing workshop from 1992 GAL convention.
1994
AL#40 p.24 BRB4 p.124
Jonathon Peterson Rossco Wright Larry Roberts
▪ Classical guitarists are too fussy to simply travel with a shrunken guitar. These two luthiers offer instruments that suit the special needs of special guitarists.
1994
AL#40 p.19 BRB4 p.97
R.E. Brune
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1994
AL#40 p.18 BRB4 p.96
R.E. Brune
▪ There is an undying interest in the Segovia guitars. Brune offers good description as well as 10 photos and a complete set of plans. The plans are a reduced version of our full-scale Plan # 38.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#40 p.14 BRB4 p.86
Alan Carruth
▪ Impressions of lectures given on the first day of the GAL 1992 convention in Vermillion South Dakota, held in conjunction with the Catgut Acoustical Society.
1994
AL#40 p.8 BRB4 p.90
Curt Carpenter
▪ Carpenter tells of his VA-sponsored apprenticeship to a legend of the electric guitar industry. A fine string of anecdotes. Carpenter actually moved in with Doc Kauffman and his wife, relived all the old stories, learned to build guitars, visited with Leo Fender, met Rudy Dopera, and made pickups. Carpenter left the army to enter the Guitar Wars.
1994
AL#40 p.7
Chris Burt
▪
1994
AL#40 p.5 read this article
Chris von-der-Borch
▪
1994
AL#39 p.60 read this article
Owen Couch
▪ Where to get dulcimer plans.
1994
AL#39 p.60 read this article
Robert Lundberg
▪ Where to get lute strings.
1994
AL#39 p.60 read this article
Marvin-E. Shaw
▪ Weissenborn guitar.
1994
AL#39 p.58 BRB4 p.442
Michael Darnton
▪ Darnton tells what to look for if a certain string breaks consistently, and how to remove a firmly attached violin neck.
1994
AL#39 p.56 BRB4 p.416
Rick Turner
▪ Turner updates the membership on some wire work he has done lately in his own shop.
1994
AL#39 p.54 BRB4 p.425
Harry Fleishman
▪ The GAL’s tool man examines Bob Smith Industries line of epoxies and CA glues and finds that they shoot down the competition.
1994
AL#39 p.53
Robert Steinegger
▪ Mounting Waverly tuners without the press-in collars they come with.
1994
AL#39 p.53 BRB4 p.485
Jonathon Peterson
▪ Strips of masking tape twisted into long skinny tubes as alternative to double stick tape.
1994
AL#39 p.53 BRB4 p.486
George-W. Dietz
▪ Transforming 99 cent small pliers into fret bending pliers.
1994
AL#39 p.52 BRB4 p.482
Andres Sender
▪ A $40 design for an oval electric bending iron that can be built in a day from available materials.
1994
AL#39 p.51 BRB4 p.463
Marc Worsfold
▪ This book only concerns itself with wood varieties that grow large enough to harvest for lumber. In that light, the reviewer finds it to be an “excellent, well-researched book that gives a different view of New Zealand resources other than sheep.”
1994
AL#39 p.49 BRB4 p.461
Kevin Aram
▪ The reviewer finds that his good first impression of the book is dimmed by six months spent in its company. He maintains that the information is inconsistent and not in the best interest of the beginning luthier, nor complete enough for the experienced builder.
1994
AL#39 p.46 BRB4 p.458 read this article
Robert Lundberg
▪ The reviewer finds that Strobel’s books are useful and accurate, and that the author has made a brave attempt to encourage luthiers to make their own violins, rather than strict copies of master instruments. Always look for the latest edition of each volume since changes and updates often accompany each new edition.
1994
AL#39 p.46 BRB4 p.458
Nicholas-Von Robison
▪ The reviewer finds the book to be accurate and that the authors and editor did their best to escape the dry, technical aspects of wood science.
1994
AL#39 p.44
Andrea Tacchi
▪ Tacchi opines that perhaps our attitude toward our work has too hard an edge, that we may be too eager to lose sight of the artist within us to produce the best work we are capable of.
1994
AL#39 p.36 BRB4 p.72
Dan Erlewine
▪ In the last issue Erlewine described how he made a new “old” Tele body. In this installment he attacks the neck, quite literally. With 40 photos.
1994
AL#39 p.34 read this article
Alan Carruth
▪ Fine musicians get together with acousticians and luthiers to try old against the new. No agreements are reached, but apparently a good time was had by all.
1994
AL#39 p.32 BRB4 p.64
Jorge Gonzalez
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1994
AL#39 p.30 BRB4 p.62
Jorge Gonzalez
▪ Outwardly, the tiple resembles a biggish ukulele with 10 strings arranged in four courses. Tuning arrangements vary with geography. In America the Martin tiple is the best known.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#39 p.28 BRB4 p.80
Elon Howe
▪ A nontraditional mold deep enough to keep the ribs square to the top and back plates.
1994
AL#39 p.27 BRB4 p.85
Jonathon Peterson Henry Strobel
▪ A violinmaker talks about his foray into publishing violin books.
1994
AL#39 p.25 BRB4 p.70
John Calkin
▪ The focus here is electric guitar pickguards, both wood and plastic. Some tips carry over to acoustic pickguards.
1994
AL#39 p.18 BRB4 p.65
Jonathon Peterson Eric Myer
▪ Meyer’s current gig is the manufacture of violin fittings. He describes his peg making process in detail.
1994
AL#39 p.10 BRB4 p.52
Bryan Galloup
▪ Here’s the whole story, with some tools for heat removal of the parts not seen in the magazine before. Pull those worn parts and make your own replacements. With 38 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#39 p.8
Charles-J. Daniels
▪
1994
AL#39 p.7
Lance Carter
▪
1994
AL#39 p.6
Paul Hurley
▪
1994
AL#39 p.4
Paul Gudelsky
▪
1994
AL#38 p.60 BRB4 p.442
Michael Darnton
▪
1994
AL#38 p.59
Jeff Anning Graham Johnson Ake Bjornstad Cyndy Burton
▪ Sources of spruce, redwood, and cedar in Canada.
1994
AL#38 p.58
Larry Trumble
▪ Trumble forecasts the future for one of lutherie’s staple woods.
1994
AL#38 p.57
Ed Moore
▪ A heat sealing iron for applying heat in localized areas in bridge and fingerboard removal.
1994
AL#38 p.57
George Gorodnitsky
▪ Making an easy and inexpensive beautiful abalone-inlaid headstock or rosette.
1994
AL#38 p.56 BRB4 p.485
Gene Simpson
▪ A trick to transfer lacquer thinner from a 5 gallon container to a 1 gallon can.
1994
AL#38 p.56 BRB4 p.485
Bishop Cochran
▪ The ‘hurricane blower’, a rubber bulb-type blower used by photographers to keep their equipment clean.
1994
AL#38 p.56 BRB4 p.485
Rod Hannah
▪ A disposable and recyclable nut and saddle spacing jig.
1994
AL#38 p.56 BRB4 p.485
John Miles
▪ The use of abrasive tools for various instrument making tasks.
1994
AL#38 p.55
Harry Fleishman
▪ An excellent price for a Ryobi oscillating drum sander.
1994
AL#38 p.55
Greg Descateaux
▪ Utilizing cutoff stock from local cabinet shops in laminated necks and body construction.
1994
AL#38 p.55 BRB4 p.484
Merv Rowley
▪ A simple gadget for checking the levelness using nothing more than a straightedge, flashlight, and insulated wire.
1994
AL#38 p.54
Harold Turner
▪ Making a wild looking dulcimer using wood scraps.
1994
AL#38 p.54
Robert Steinegger
▪
1994
AL#38 p.54 BRB4 p.484
John Jordan
▪ Options from easiest to most difficult for grounding strings to achieve noise reduction.
1994
AL#38 p.54 BRB4 p.488
Skip Helms
▪ Converting thick feeler gauges to an inexpensive set of nut files.
1994
AL#38 p.52 BRB4 p.424
Harry Fleishman
▪ Fleishman has made himself an expert in the field of amplifying the acoustic guitar. Here he examines the Transducer/Mic Combo, from Dana Bourgeois Guitars, and decides that it is a “real bargain.”
1994
AL#38 p.48 BRB4 p.59
John Calkin
▪ How to make hardshell, vinyl-covered, fur-lined cases for instruments that won’t fit into a stock case.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#38 p.44 BRB4 p.48
Mike Doolin
▪ Anyone willing to dismantle their first guitar deserves a lot of credit, especially if it came out cosmetically pristine the first time. Doolin replaced the top of his first guitar to bring the bass response up to spec. With 9 photos and a lot to think about.
1994
AL#38 p.40 BRB4 p.44
Bart Potter
▪ Harvesting wood in Hawaii, conserving it for the future, and looking at koa’s working properties.
1994
AL#38 p.36 BRB4 p.39
Jonathon Peterson
▪ Sullivan built a maximum performance thickness sander for $800 and 100 hours time.
1994
AL#38 p.34 BRB4 p.42
Francis Kosheleff
▪ A typical bandura looks like a melted acoustic guitar with about a hundred extra strings spread across the body. OK, not that many. A lot, though. Kosheleff knows these Russians well.
1994
AL#38 p.30 BRB4 p.36
Jonathon Peterson Nick Kukich Jeanne Munro
▪ The folks from Franklin Guitars are outspoken and articulate. Are steel string makers really the “bottom feeders” of the guitar world? Kukich was there at the rebirth of the OM guitar.
1994
AL#38 p.26 BRB4 p.20
David Riggs
▪ Sometimes German instruments can look downright, well, German! Not the ones that Riggs captured on film, though. Perhaps the whole world is now one big melting pot.
1994
AL#38 p.24 BRB4 p.34
R.E. Brune
▪ Brune made a map of plate dimensions using a new (and expensive) gizzy called the Elcometer. Then he decides that plate thickness probably isn’t so big a deal. Well, at least you have a model to guide you.
1994
AL#38 p.18 BRB4 p.28
Dan Erlewine
▪ How do you make a new electric guitar that looks like it spent forty years in the bar wars? Erlewine uses two finishes with incompatible shrink rates, rope, the concrete floor, you name it! Creativity can be harsh, but his Tele certainly looks vintage.
1994
AL#38 p.8 HLC p.226
Robert Lundberg
▪ Lundberg makes the nut, ties on the frets, and strings up the lute. With a string tension formula and an explanation of the rule of 18 for locating frets. Contains 33 step-by-step photos, and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1994
AL#38 p.8
Earl Bushey
▪
1994
AL#38 p.8
George Gorodnitsky
▪
1994
AL#37 p.60 BRB4 p.488
John Jordan
▪ Make quick-and-dirty long drill bits from bicycle spokes.
1994
AL#37 p.60 BRB4 p.483
Robert Steinegger
▪ A tool invented to remove the knobs on a set of tuning gears on an old Gibson mandolin.
1994
AL#37 p.60 BRB4 p.483
Rich Craven
▪ Grocery store freezer sheet vinyl as a source of template material.
1994
AL#37 p.60 BRB4 p.483
Keith Cary
▪ Some thoughts on fitting plugs in re-hairing a bow.
1994
AL#37 p.60 BRB4 p.483
Harry Fleishman
▪ Cutting four small slots near the corners of a moveable bench to make it double as a collapsible go-bar deck for bracing.
1994
AL#37 p.59 BRB4 p.483
Robert Steinegger
▪
1994
AL#37 p.59
Randal Carr
▪ Using computer programs to create templates for nut spacing and fret layouts.
1994
AL#37 p.59
John Jordan
▪ Deep throated sockets or nut drivers are indefinitely preferable to adjustable wrenches or pliers when attaching hardware.
1994
AL#37 p.59 BRB4 p.483
Keith Hill
▪ A violin gluing method using waterproof hide glue to battle humidity and which renders the dried glue less susceptible to attack from mold and bacteria.
1994
AL#37 p.58 BRB4 p.482
Willis Groth
▪ A violin fingerboard clamping jig.
1994
AL#37 p.58 BRB4 p.482
David Riggs
▪ Building a large arched instrument using a 4″ grinder and a Lancelot cutting disc as a gouge alternative.
1994
AL#37 p.57 BRB4 p.458
Ron Lira
▪ The reviewer says, “I’m so impressed with this book I could just bust!” Apparently America now has a National heaven.
1994
AL#37 p.56 BRB4 p.416
Rick Turner
▪ Turner’s column is all about the essential electronic measuring instruments for the guitar shop.
1994
AL#37 p.54 BRB4 p.442
Michael Darnton
▪ Darnton reflects upon bass bar design and tap tone pitches for viola and cello.
1994
AL#37 p.52 BRB4 p.422
Harry Fleishman
▪ Fleishman spent a month doing all his repair work on The Apprentice, an instrument holder from WidgetWorks, and declares that he can’t give it up.
1994
AL#37 p.50
Frank Bolger
▪ The Bay Area Society of Stringed Instruments Craftspersons puts on its first exhibit. This organization is now called NCAL.
1994
AL#37 p.49
Cyndy Burton
▪ A consolidated listing of available instrument plans and their sources.
1994
AL#37 p.44 BRB4 p.23
Keith Hill
▪ Hill cooks up a varnish that resembles the fiddles in the early paintings, not those same fiddles 300 years later. A hundred years from now he expects his violins to be prettier than anyone’s.
1994
AL#37 p.42 read this article
Nicholas-Von Robison
▪ Local color and good humor are key ingredients of this peek at an independent-minded violinmaker. Arizona rosewood? Manzinita tuning pegs?
1994
AL#37 p.40 read this article
Elon Howe
▪ Another luthier turns woodcutter using a Wood Mizer portable bandsaw, and maple isn’t the half of it. With 4 photos and a diagram for sawing logs into “bastard cut” mandolin wood.
1994
AL#37 p.32 HLC p.218
Robert Lundberg
▪ Lundberg cleans, scrapes, waxes, and oils the various parts of the lute that will not receive shellac finishing. With 29 step-by-step photos, detailed captions, and two recipes for lute wax. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1994
AL#37 p.26 BRB3 p.352 read this article
Michael Darnton
▪ And you thought you knew all there was to know about making that fiddle play. Darnton continues his instruction from AL#35. This time he tunes and fits the bridge, strings, tailpiece, saddle, and end button. With 13 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#37 p.22 BRB4 p.17
Nicholas-Von Robison John Koster
▪ How does a man become conservator to a famous collection of stringed instruments, and just exactly what does he do after he’s there? Koster maintains the collection at the Shrine to Music Museum.
1994
AL#37 p.10 BRB4 p.6
Tim Olsen
▪ Olsen travels from the general (in the preceding article) to the specific. He zeros in on D’Aquisto’s soundboard work for a detailed examination. With 47 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1994
AL#37 p.6 BRB4 p.2
Tim Olsen
▪ Nobody built a better archtop than D’Aquisto did. Olsen outlines the procedures and peculiarities of a famous luthier’s work.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1994
AL#37 p.5
R.E. Brune
▪ If you attempt to move across international borders any artifact containing wood from a CITES tree (which includes Brazilian rosewood) you may risk confiscation if first you don’t fill out the right forms and pay the proper fees. It’s a slow and expensive process, and Brune’s forecast for the future is even scarier.
1994
AL#37 p.4
Kris-D. Pennisten
▪
1993
AL#36 p.63
Gene Rhinehart
▪ Drawings of the duolian metal body guitar (12-fret neck).
1993
AL#36 p.63
John Doan
▪ Obtaining the extended bass strings for a Dyer harp guitar
1993
AL#36 p.60 BRB3 p.441
Harry Fleishman
▪ Toolman tries out the Hipshot Extender Key for guitars, and the Hipshot Trilogy bridge. He finds them to be useful products with specific uses.
1993
AL#36 p.58 BRB3 p.446 read this article
Michael Darnton
▪ Darnton discusses classical violin strings and a timesaving method of cutting the purfling slots.
1993
AL#36 p.56 BRB3 p.426 read this article
Rick Turner
▪ Turner warns repairmen not to get in over their heads with custom electronics work, and describes two elaborate jobs that came out right for all concerned.
1993
AL#36 p.52 BRB3 p.422
Jonathon Peterson
▪ Four repairmen offer a variety of tips about altering mechanical archtop bridges, adding more “pop” to fretless bass necks, soldering and shielding electrics, carbide bandsaw blades, abrasive cord, superglue, cutting saddle slots, double-stick tape, bending plastic binding, beveling pickguard stock, replacing bar frets with T-frets, and restoring headstocks to look old.
1993
AL#36 p.50 BRB3 p.420 read this article
Nicholas-Von Robison Debbie Suran
▪ Two luthiers examine an alternative wood and find that their samples do not match each other, and that their research texts don’t match descriptions, either. Two chunks of wood point to a common problem for those who are driven to be different.
1993
AL#36 p.46 BRB3 p.416
Robert Lundberg
▪ Scrapers are wonderfully useful tools despite the difficulties they often pose to beginners. Lundberg explains how to tame them.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1993
AL#36 p.41 BRB3 p.409
Scott Tremblay
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1993
AL#36 p.40 BRB3 p.405
Jonathon Peterson Scott Tremblay
▪ Trembley is a Canadian luthier who specializes in the guitars of the 19th century, both as a maker and a restorationist. He has studied the subject deeply. With 12 photos and a scale drawing of an 1816 Salon Guitar by Jose Martinez. This plan is a reduced version of GAL full-scale Plan #36.
1993
AL#36 p.39 BRB3 p.476
Wayne Kelly
▪ Make your own radiused blocks from auto body filler.
1993
AL#36 p.32 HLC p.210
Robert Lundberg
▪ Lundberg explains how to fit the many pegs of graduating length and diameter. With 26 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1993
AL#36 p.26 BRB3 p.410 read this article
David Golber
▪ The chief difference between the Hardanger and a normal violin is its use of sympathetic strings, though other differences abound. Ornate decoration is also usual. Golber offers a good description of a typical Hardanger and how to set it up.With 9 photos and a number of drawings.
1993
AL#36 p.16 BRB3 p.396
Ervin Somogyi
▪ Somogyi delves into many of the technical considerations of guitar design and construction. With a large number of drawings.
1993
AL#36 p.12 BRB3 p.393
Ervin Somogyi Colin Kaminski
▪ Many of us suffer periods of lutherie burnout, but few as dramatically as Somogyi, whose house and shop were lost in a great California fire. This interview offers early background information and an update of how he has coped since the fire.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#36 p.6 BRB3 p.380
Dan Erlewine
▪ Erlewine hides his wooden patches under a field of colored French polish, then paints over it with simulated wood grain, and then might shoot a sunburst around everything. Old European craftsmen would smile in recognition of these tricks, but they are seldom applied to guitars.
1993
AL#36 p.5 read this article
Rion Dudley
▪ Dudley finally tried building a guitar with Osage orage wood, and he likes it.
1993
AL#35 p.63 BRB3 p.503 read this article
John Monteleone
▪ Remembering Mario Maccaferri, creator of guitars made by Selmer of Paris and made famous by Django Reinhardt, major contributor to the field of injection molding plastic, and overall self made man.
1993
AL#35 p.62 BRB3 p.502 read this article
Ray Mooers Betty Truitt
▪ Robinson was a prime mover in the resurgence of the folk harp.
1993
AL#35 p.61
Cyndy Burton
▪ The Folk Harp Journal is a good source of harp or Celtic harp info.
1993
AL#35 p.60
Paul Hurley
▪ Hurley believes that classical guitars aren’t loud enough, and that if design changes can’t make improvements, perhaps concert halls should be changed or amplification used. He wishes to boost the popularity of guitar concerts.
1993
AL#35 p.58 BRB3 p.426 read this article
Rick Turner
▪ Turner spends nearly 2 pages talking about electric guitar wiring harnesses, which wire to use, and what pot values to try.
1993
AL#35 p.57 BRB3 p.498
Jonathon Peterson
▪ Design idea for a simple workstand using a wedge-shaped box. You can make one out of anything.
1993
AL#35 p.57 BRB3 p.498
Greg Descateaux
▪ Slight additions to Colin Kaminski’s description of how to build a hollow radius form in AL#33.
1993
AL#35 p.57 BRB3 p.495
Harold Turner
▪ Plate tuning made simple using a stereo satellite speaker and glitter.
1993
AL#35 p.56 BRB3 p.495
John Calkin
▪ Finishes, including high texture Flecstone, Tru-oil, and McClosky’s bar top; a commercial varnish.
1993
AL#35 p.54 BRB3 p.441
Harry Fleishman
▪ The Guild’s resident tool and hardware tester takes a look at Waverly vintage-style tuners, Sperzel locking machine heads, and the Trem-Setter stabilizing device. All are given the nod of approval.
1993
AL#35 p.52 BRB3 p.446 read this article
Michael Darnton
▪ What are the proper dimensions and shape of the neck? What is a “tight” fiddle? What is fingerboard tilt? What does a player mean when he says he “can’t reach” the D string? Darnton answers all.
1993
AL#35 p.48 BRB3 p.368
Ralph Novak
▪ Good fretwork is complicated, but practice makes it a staple in the repairman’s income. Novak offers advice garnered from twenty-odd years in the business.
1993
AL#35 p.46
Wayne Kelly
▪ Have a try at laying out rosette tiles with your PC.
1993
AL#35 p.44 BRB3 p.500 read this article
Bruce McGuire
▪ Overholtzer is cussed and discussed, but he had an undeniable influence on the American classical guitar scene. He built Spanish guitars in a very un-Spanish manner.
1993
AL#35 p.34 HLC p.196
Robert Lundberg
▪ The bowl is finished with shellac and rubbed out. With 38 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1993
AL#35 p.30 BRB3 p.376 read this article
Nicholas-Von Robison
▪ Alternative Lutherie Woods List.
1993
AL#35 p.26 BRB3 p.372 read this article
Tom Ribbecke
▪ Ribbecke gathered information from across the country for this talk, an introduction to the woods that may eventually—like it or not—change the look of the instruments we make and play.
1993
AL#35 p.24 BRB3 p.370
Nicholas-Von Robison Tom Ribbecke
▪ As an adviser to the trade, a builder of high quality guitars, and teacher, Ribbecke has had a strong influence on the work of many luthiers. This interview sketches his beginnings in lutherie.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#35 p.21 BRB3 p.392
Paul Hostetter
▪ Using these drawings and text you can make your own kabosy in a few days. A full-scale instrument plan. See the GAL website for a low-rez preview.
1993
AL#35 p.16 BRB3 p.386 read this article
Paul Hostetter
▪ The kabosy is a folk instrument from Madagascar. It comes in several body shapes, but always has a neck with the same layout of staggered frets, many of which don’t completely cross the fingerboard. It’s easy to build and fun to play once your eyes stop being baffled by the weird frets.
1993
AL#35 p.6 BRB3 p.352 read this article
Michael Darnton
▪ To the uninitiated, violin setup seems to have way too many steps for the small number of moveable parts involved. Taken one step at a time, the mystery falls away. Darnton explains the tools and procedures he uses to get the most out of a violin. This segment includes fitting pegs, correcting problems with the nut, making a fingerboard, and fitting a soundpost. Part Two is printed in AL#37. With 30 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#35 p.5 read this article
Bill Moran
▪ Does acid rain change the crystal formation in wood cells?
1993
AL#35 p.2 BRB3 p.305 read this article
Tom Peterson
▪ Remembrance of H.E. Huttig, one of the GAL’s founding members.
1993
AL#34 p.61 BRB3 p.499 read this article
David Wilson Peggy Warren
▪ Remembering Hammond Ashley, aged 91, advocate of fine music and fine musical instrument making.
1993
AL#34 p.60
Cyndy Burton
▪ An all purpose answer to get potential guitar makers aimed in the right direction without discouraging anyone.
1993
AL#34 p.59 BRB3 p.494
Colin Kaminski
▪ This jig used for clamping fingerboard bindings fixes the problem of clamping the binding against the fingerboard and keeping the white and black lines flush with the bottom edge of the fingerboard.
1993
AL#34 p.59 BRB3 p.492
Harry Fleishman
▪ A trick for bringing out the color of a rosette inlay or binding.
1993
AL#34 p.58 BRB3 p.491
Colin Kaminski
▪ A modified Blue Point K-1020 vacuum pump to recycle refrigerant from automotive air conditioners, per California state law.
1993
AL#34 p.58 BRB3 p.494
Harry Fleishman
▪ Mixing dust with glue for a heavy paste to epoxy frets.
1993
AL#34 p.58 BRB3 p.492
Colin Kaminski
▪ The jig to taper fingerboards, made of 3/4″ plywood.
1993
AL#34 p.56 BRB3 p.439 read this article
Harry Fleishman
▪ Fleishman examines a rash of Stew-Mac fretting tools and their fretting video. He gives the green light to the entire package after extensive testing.
1993
AL#34 p.54 BRB3 p.446 read this article
Michael Darnton
▪ What adjustments change the tone of a violin? Should new pegs be reshaped or should the pegbox holes be opened to fit them? Which glue for a top center seam? Are stains really useless?
1993
AL#34 p.52 BRB3 p.426 read this article
Rick Turner
▪ This column is dedicated to combining magnetic and piezo pickups.
1993
AL#34 p.50
John Calkin
▪ Calkin takes a humorous (and highly fictionalized) whack at folk history.
1993
AL#34 p.49
Sheldon Schwartz
▪ A salute to David Freeman from one of his former students.
1993
AL#34 p.46 BRB3 p.314 read this article
Elaine Hartstein
▪ Another method to plot the modern fingerboard.
1993
AL#34 p.44 BRB3 p.313
James-E. Patterson
▪ Even the best hygrometer needs to be reset occasionally. Here’s how, and why.
1993
AL#34 p.42 ALA5 p.8
H.E. Huttig Todd Taggart Tim Olsen
▪ A well-loved man is remembered in his own words. Also see AL#32.
1993
AL#34 p.41 BRB3 p.351 ALA3 p.51
R.E. Brune
▪ Is the Met’s Segovia Hauser the famous Hauser? Probably, but maybe not. That such mysteries can remain about the most famous classical guitarist ever is quite heartening.
1993
AL#34 p.30 BRB3 p.340
Steve Klein
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1993
AL#34 p.24 BRB3 p.334 ALA6 p.30
Jonathon Peterson
▪ In AL#29 Peterson looked back at the harp guitar. This time he takes a forward look. A number of luthiers find fascination and a new potential in the big beast, and this is the best look at their results to date. With 28 photos and 8 detailed drawings. Also available is GAL full-scale Plan #34, the Klein solidbody electric harp guitar.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#34 p.20 BRB3 p.330 ALA6 p.24
Jonathon Peterson Michael Sanden
▪ A Swedish guitar maker comes to America for a round of twenty-questions. When non-Americans step out on Lutherie Road the trip isn’t necessarily the one we imagine. Sanden shares a lot of information about his mentor, Georg Bolin.
1993
AL#34 p.18 BRB3 p.328 read this article
George Borun
▪ Not many people make the mental leap from violins to the space age easily. Borun did, and found the connection useful. His list of uses extends far beyond bending the ribs.
1993
AL#34 p.14 BRB3 p.324 read this article
Paul Hostetter Bart Reiter
▪ Reiter is perhaps the best known current maker of open back banjos. He traces his beginnings and some specifics of the banjo market. With 3 photos.
1993
AL#34 p.6 BRB3 p.316 ALA5 p.22
Jeffrey-R. Elliott
▪ Elliott believes that top replacements might be far more common in the future than they are now. Instruments with tired tops might have them replaced rather than retire the rare/irreplaceable hardwoods that comprise the rest of the instrument. Anyhow, he tried it out. Here he presents a description of the operation and the ethics involved, with 23 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#34 p.5
Nicholas-Von Robison
▪ Any artifact containing wood from a CITES tree might be impounded at any international border. This list may help you if you travel or do import/export.
1993
AL#34 p.4
Ervin Somogyi
▪ Somogyi was burned out of house and shop during the Oakland Hills Firestorm. He describes his plight and how the Crafts Emergency Relief Fund (CERF) helped rescue him. If you need such help, or if you would like to contribute to CERF, Somogyi tells how.
1993
AL#33 p.60 BRB3 p.312
Bill Garofalo
▪ An impromptu tour of a guitar factory in Buenos Aires, mainly making solidbody electrics.
1993
AL#33 p.59
Ken Warmoth Kent Rayman
▪ Dead spots on fretted bass necks.
1993
AL#33 p.59 read this article
Harry Schwab
▪ Obtaining technical details or blueprints on the inner workings of the Swedish nyckelharp and the chromatic keyboard of a hurdy gurdy.
1993
AL#33 p.59 BRB3 p.475 read this article
Byron Will
▪ Strong winter grain in spruce and cedar.
1993
AL#33 p.59 BRB3 p.475
Brett Borton
▪ Bracing cedar classic guitar tops.
1993
AL#33 p.58
Gene Rhinehart
▪ Where to find a ‘quarterman’ cone for building a dobro.
1993
AL#33 p.57 BRB3 p.471 read this article
Dave Maize
▪ Videos begin to get their due in the review department. The reviewer decides this tape is a valuable aid for the first-time builder.
1993
AL#33 p.57 BRB3 p.493
Taffy Evans
▪ History of the wonder vise.
1993
AL#33 p.56 BRB3 p.492
Bill Garofalo
▪ One of a kind solidbody electric tuning mechanism.
1993
AL#33 p.54 BRB3 p.437
Harry Fleishman
▪ Fleishman tests the Dean Markley SST acoustic guitar pickup (saddle/transducer) and decides that it may fit certain needs but it doesn’t offer faithful reproduction of the guitar’s acoustic sound.
1993
AL#33 p.52 BRB3 p.446
Michael Darnton
▪ What is a spiral bushing, and when do you use it? It’s a one-question column this time around.
1993
AL#33 p.50 BRB3 p.426 read this article
Rick Turner
▪ Turner talks about building pickup/microphone systems into an acoustic guitar.
1993
AL#33 p.48 BRB3 p.306
John Calkin
▪ Calkin offers a neck shaping method that gives preconceived notions a chance to be born. What you want in a neck is what you get, quickly and with straight lines.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#33 p.46 BRB3 p.310 read this article
David Golber
▪ If stock tuners stick up too far from the top of your headstock you can fix them, but it requires a machinist’s lathe.
1993
AL#33 p.40 BRB3 p.298 read this article
John Curtis
▪ Curtis is a wood dealer and a founder of WARP (Woodworkers Alliance for Rainforest Protection). Here he examines international law, species extinction, conservation, and local economies in the Third World. Oh yeah, and the American luthier’s place in this scheme.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#33 p.39 BRB3 p.309 read this article
Harold Turner
▪ Turner thinks you might like to try white pine as a tonewood. But you’ll have to harvest it yourself. Here are some suggestions about how to go about it.
1993
AL#33 p.36 BRB3 p.303
Wes Brandt
▪ A well-known repairman delivers eight tips, including an alternate way to bend a Venetian cutaway, tool tips, and a way to bend sides more accurately.
1993
AL#33 p.35 BRB3 p.308
David Freeman
▪ Micro-mesh is the latest word in sandpaper. In fact, it’s not even paper and it doesn’t feel sandy. Freeman and his students use it for all wet-sanding chores, including the final gloss finish. It’s that fine.
1993
AL#33 p.30 BRB3 p.292
Geary Baese
▪ When a violin guy gets on the trail of an old guitar it comes out sounding an awful lot like a violin article. And when Stradivari is involved what else can one expect? Baese makes an educated guess about the materials and techniques that finished a famous guitar. With 8 photos.
1993
AL#33 p.29
Francis Kosheleff
▪ Another page of humor from the mildly depraved mind of Kosheleff. With two cartoons.
1993
AL#33 p.26 BRB3 p.290
Jeffrey-R. Elliott
▪ How does one hack a log that’s 11′ wide into 4000 guitar tops? Very carefully! With 9 photos detailing the decimation of Moby Spruce. By the way, this is a log that Steve McMinn rescued from the pulp mill.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#33 p.24 BRB3 p.288
Steve McMinn
▪ The head honcho of a new designer tonewood company describes his operation. With 4 photos.
1993
AL#33 p.23 BRB3 p.476
Colin Kaminski
▪ Kaminski’s form uses two sheets of plywood of different thickness. They are stacked and screwed together down the center, and the thin sheet is curved by placing rows of wedges between them. A wood frame is built around the plywood, then polyester is poured between the sheets to make the radius permanent. It works, but it can be messy.
1993
AL#33 p.22 BRB3 p.173 read this article
John Boser
▪ Gathering one’s own tonewood can be a tiresome pursuit. Boser takes a humorous look at one of his futile expeditions.
1993
AL#33 p.14 BRB3 p.280
R.E. Brune
▪ Brune describes a rare 11-string Torres guitar and the manner in which he restored it. With 11 photos and a half-page of drawings. Mentions Romanillos.
1993
AL#33 p.12 BRB3 p.278 read this article
Roberto Gomes
▪ Gomes offers a list and short description of some current Brazilian builders.
1993
AL#33 p.9 BRB3 p.275 read this article
Roberto Gomes
▪ Straight from the horse’s mouth—a Brazilian guitar maker talks about Brazilian tonewood. Ever wonder what a living rosewood tree looks like? Well, wonder no more. With 6 photos and a range map.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#33 p.6 BRB3 p.272
Cyndy Burton Roberto Gomes
▪ A Brazilian guitar maker comments upon his situation in Brazil and his first trip to America as a luthier.
1993
AL#33 p.4
Colin Kaminski
▪ Central California luthiers formed an organization for mutual aid. IT was called BASSIC.
1993
AL#33 p.3
Skip Helms
▪ Doin’ it with a router table.
1993
AL#33 p.3 read this article
Scott Tribby
▪ Violin makers in Michigan formed an organization for mutual aid.
1993
AL#33 p.2
Tibor Semmelweis
▪ Hungarian luthiers formed an organization for mutual aid.
1993
AL#33 p.2
Nicholas-Von Robison
▪ Information and a book reccomendation concerning acid rain and its impact on world forests.
1992
AL#32 p.69 read this article
George Rizsanyi
▪ A source for sandolin varnish.
1992
AL#32 p.69 BRB3 p.474
Dake Traphagen
▪ Making baroque guitar roses.
1992
AL#32 p.69
David Freeman
▪ Failure of Sabine model 1500 electronic tuner to respond to the low E on an acoustic guitar.
1992
AL#32 p.69 BRB3 p.474
Jonathan Yuen
▪ Swedish Nyckelharp construction and hurdy-gurdy plans.
1992
AL#32 p.68 BRB3 p.489
Richard Echeverria
▪ Quickie tips on the thinline switch fisher-line, clay dot replacements, fret size selector, cloth braided wire, and tune-o-matic bridge wire.
1992
AL#32 p.68 BRB3 p.487
Skip Helms
▪ A few ideas using a router table for classical makers.
1992
AL#32 p.67 BRB3 p.489
David Freeman
▪ Effective method for stickering wood for storage.
1992
AL#32 p.67 BRB3 p.489
Nicholas-Von Robison
▪ A fly-tiers vise makes an excellent small parts vise for final cleanup on pearl inlays.
1992
AL#32 p.66 BRB3 p.488
John Higgins
▪ Specialized tools for making nuts, a flat sided tapered scribe, and the equal spacing divider.
1992
AL#32 p.64 BRB3 p.446 read this article
Michael Darnton
▪ What should one expect from a purchased ebony fingerboard? Should a fiddle bridge lean back, and how far? Can you offer hints about using hide glue? Darnton’s wide experience rescues another page of readers.
1992
AL#32 p.62 BRB3 p.470 read this article
Robert Lundberg
▪ This marvelous book of workbenches will fill you with ideas of how to improve the ‘heart’ of your own shop.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#32 p.58 BRB3 p.270
Jim Grainger
▪ Grainger swears that this work is easy and profitable, and makes it seem so. The secret ingredient is called Final Coat, a Mohawk product.
1992
AL#32 p.56 BRB3 p.490
Willis Groth
▪ This pivoting work stand really is made of a bowling ball. You have to see it to understand it.
1992
AL#32 p.52 BRB3 p.268 read this article
Tim Olsen Guy Rabut
▪ A long-time Guild member makes it as a violinmaker in the Big Apple after a twenty-year run. Mentions Ed Campbell, Peter Prier, Rene Morel.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#32 p.48 BRB3 p.262
Jose Romanillos
▪ Scholarship on the trail of a vanished instrument.
1992
AL#32 p.47 BRB3 p.257 read this article
Harold Turner
▪ Build a banjo and scare the congregation, and not with music. Luthier humor, and more good local color. Turner was there when the banjo bomb was invented. A shrinking calf skin head was the culprit.
1992
AL#32 p.46 BRB3 p.265
Lisa Hurlong
▪ An adopted daughter of Granada describes an up-and-coming Spanish guitar maker. Good local color. Mentions Antonio Marin.
1992
AL#32 p.44 BRB3 p.266 read this article
Michael Darnton
▪ Nothing is easy for fiddle people. When they aren’t tweaking and gluing wood they are stirring up a witch’s brew in their home chem labs. Darn if Darnton doesn’t sound like he likes it, though. Buy some fancy wood. Trick it into changing color.
This article has been nominated as one of the Guild’s best articles published before 2010.