1979
DS#102 LW p.87 read this article
Nicholas-Von Robison
▪ Traditional ways of decorating instruments follow a narrow path. The author uses gold leaf to enhance his inlays. The path grows a little bit wider. Includes 3 illustrations of the steps involved.
1979
DS#101 BRB2 p.31
Bob Petrulis
▪ The author discusses ways to diagnose various electric guitar repairs before the instrument is even disassembled.
1978
GALQ Vol.6#4 p.24 read this article
Mike Longworth
▪ From his recent convention lecture.
1978
GALQ Vol.6#4 p.19
Tim Olsen
▪ The third in a six part series, brought on by a rapidly growing interest in the subject.
1978
GALQ Vol.6#4 p.10
Michael Keller Richard Schneider
▪ A brief interview with the renowned luthier, maestro Richard Shneider, known for his development of the radically innovative Kasha Design soundboard guitar.
1978
GALQ Vol.6#3 p.28
William Conrad
▪ Certification adds prestige to the product and protects you and the owner in case of loss, theft, or damage.
1978
GALQ Vol.6#3 p.18
Tim Olsen
▪ The second in a six part series, brought on by a rapidly growing interest in the subject.
1978
GALQ Vol.6#3 p.14 read this article
Jeffrey-R. Elliott
▪ Elliott shares his impressions of the Canadian-hosted classic guitar festival “Guitar 78”.
1978
GALQ Vol.6#3 p.8 LT p.104
H.E. Huttig
▪ A tribute to the late George Vogl of Bubenreuth, Germany, maker of special luthier’s tools.
1978
GALQ Vol.6#2 p.34
Wilfrid-M. Appleby
▪ Stradivari also made guitars. This one is in the museum of the Paris Conservatoire.
1978
GALQ Vol.6#2 p.32 read this article
Rolfe Gerhardt
▪ Finding a good and consistent supplier of fine fiddleback of maple has been one of the greatest problems in mandolin building.
1978
GALQ Vol.6#2 p.30 BRB2 p.61
H.E. Huttig
▪ Hutting happens across Manuel Davila in Guatemala City, who builds guitars that are completely original and do not follow tradition in construction and decoration.
1978
GALQ Vol.6#2 p.28 LW p.38 read this article
Des Anthony
▪ Tonewood is where you find it, even if you find it in another instrument.
1978
GALQ Vol.6#2 p.26 read this article
Phil Boulding
▪ Philip Boulding on his love for the harp.
1978
GALQ Vol.6#2 p.25
Rolfe Gerhardt
▪ The Marlin is a sign carving pantograph router with a lettering template clamped on one side and the sign board the other.
1978
GALQ Vol.6#2 p.20
Tim Olsen
▪ The first in a six part series, brought on by a rapidly growing interest in the subject.
1978
GALQ Vol.6#2 p.19 read this article
David-Russell Young
▪ Many instruments, when compared together in a forum such as Carmel, provide a good basis for determining the strong and weak points of each individual instrument.
1978
GALQ Vol.6#2 p.14 read this article
Lawrence Lundy
▪ Warranties, delivery deadlines, return of instruments, care and feeding, payments and pricing, customer info, and happy transactions.
1978
GALQ Vol.6#1 p.37
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1978
GALQ Vol.6#1 p.35 read this article
Theron McClure
▪ All the viols made and played today are copied from those made during the final 75 years of the 3 century span of viol playing.
1978
GALQ Vol.6#1 p.34 LW p.125 read this article
Harry Coleman
▪ Coleman built knives around 1968 and 1969 which led naturally to an interest in guitar building.
1978
GALQ Vol.6#1 p.32
Joe Chromey
▪ Choosing the best lutherie school or course for one’s investment.
1978
GALQ Vol.6#1 p.26 read this article
J.R. Beall
▪ 1978 marks Beall’s tenth anniversary as a practitioner of the luthier’s art.
1978
GALQ Vol.6#1 p.16
Tim Olsen
▪ Olsen dreams up six new instruments. Decades later, he still has not built them. Admittedly,the teepee-gurdy would be a bit of a project.
1978
GALQ Vol.6#1 p.10 BRB2 p.78
Kent Rayman Aggie Rayman Robert Lundberg
▪ Lundberg is a classic example of a man who couldn’t fit into any of the slots society tried to force him into, yet who went on to become an important individual in his field. Lute players of the world couldn’t be happier about it. With 4 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1978
DS#100 read this article
Dan-Neil McCrimmon
▪ The basic idea behind this geometry jazz is to have the elements of design organized in such a way as to give a sense of cohesion to the total design.
1978
DS#99 LW p.101
Tim Olsen
▪ Build a simple shooting board to make plate joints with a plane, then use one of 3 tried-and-true forms of clamping workboards to glue them together.
1978
DS#98 LW p.120
John Thierman
▪ Steam out the neck with a tea kettle. With 2 illustrations. See also the next article.
1978
DS#97 BRB1 p.352 read this article
Jimmie Van
▪ Discusses the advantages of cleaning instruments with lemon oil and resealing the finish with carnauba wax.
1978
DS#96
John Thierman
▪ Comprehensive instrument refretting, from preparation of the fret board to fret wire types.
1978
DS#95 LW p.90
Don Musser
▪ Some wood ripples when it is wetted for bending. Musser describes how to remove the ripples, but you’ll have to have a metal bending form to use his method. With 2 photos.
1978
DS#94
Chuck Morrison
▪ Using watered down type hide glues, such as Franklin’s Liquid Hide Glue, will lead to trouble. Preparation of the real stuff is easier than you think.
1978
DS#93
Jeffrey Covill
▪ This program is designed to compute measurements more accurately and faster than is manually possible when calculating fret placement.
1978
DS#92 LT p.92
Thomas Rein
▪ Jig uses and end mill in a drill press.
1978
DS#91 read this article
Jimmie Van
▪ Substituting glass jars for aluminum cans for commercial spray guns, many advantages can be realized, and they’re cheap.
1978
DS#91 read this article
Tim Olsen
▪ Substituting glass jars for aluminum cans for commercial spray guns, many advantages can be realized, and they’re cheap.
1978
DS#90 BRB1 p.353 read this article
Paul Jacobson
▪ There is a small but vocal movement afoot to return lutherie to a “purer” state by (among other things) reverting to hide glue and French polish. Don’t be too quick to sign on until you’ve read this thought-provoking article. There is no such thing as “pure” lutherie, and you should understand what you’re surrendering before you relinquish modern techniques. Epoxies have advanced since this was written in 1978, but the reasons for using them remain the same.
1978
DS#89 BRB1 p.284 read this article
David Rolfe
▪ Violinmakers can (and do) talk at length about varnish formulas. Rolfe leaves that to others, and instead describes at length the process of getting the varnish onto the instrument with a minimum of fuss and a maximum of cleanliness. Included is a discussion of brushes, rags, rubbing down and polishing materials, drying boxes, and where in your shop to varnish.
This article has been nominated as one of the Guild’s best articles published before 2010.
1978
DS#88 LW p.78
Tim Olsen
▪ Are you tired of rosettes that are just rings around the soundhole? Here’s a jumping off point if you want to take the plunge. The next step is to get rid of the round soundhole. With 3 diagrams.
1978
DS#87 LT p.45
Reagan Cole
▪ Old refrigerator compressor and a shower curtain.
1978
DS#86 LW p.110 read this article
Tim Olsen
▪ No, you don’t press a neck to take the wrinkles out. Sometimes it’s necessary to heat a crooked neck, overbend it with clamps, then hope it cools and relaxes into some semblance of straightness. This sort of caveman lutherie is still called upon from time to time, and you probably won’t find a more detailed description of the operation than this one. With 5 illustrations.
1978
DS#85 BRB1 p.41
Rolfe Gerhardt
▪ That is, setting up the actual spray system from compressor to gun, with additional information about spray room accessories. It’s worth noting that in his update the author (a maker of top quality mandolins) mentions that he has abandoned lacquer in favor of waterborne products.
1978
DS#84 LT p.29
Tim Olsen
▪ Regrind single-edged razor blades into good little scrapers.
This article has been nominated as one of the Guild’s best articles published before 2010.
1978
DS#83
Phillip Mayes
▪ Recutting the saddle slots on a “badass” adjustable bridge fitted to a Gibson SG.
1978
DS#82
Don Alfieri
▪ Two photographs by Schuab photo: a German guitar from the early 1800s and an American guitar signed and dated Schmidt and Maul, 1844, New York.
1978
DS#81 LT p.82
Rolfe Gerhardt
▪ Remount a 6×48 belt sander on edge to find a variety of new uses.
1978
DS#80 read this article
Reagan Cole
▪ The plug mold is the best method of fabricating a vaulted back when one is building a number of identical instruments.
1978
DS#79 read this article
Leo Bidne
▪ The determining factors besides the obvious ones for making a guitar the shape that it is and a possible formula that produces an ideal outline.
1978
DS#78 LT p.63
Al Leis
▪ Close-tolerance adjustability with a full-size router to create binding and rosette slots.
1978
DS#77 LT p.101
Tim Olsen
▪ Table saw jig to evenly cut kerfs in rectangular strips of lining.
1978
DS#76 BRB2 p.244
Kirk Hogan
▪ Mounting a skin head on a banjo has become a lost art. Here’s how to do it. Includes 4 drawings.
1978
DS#75
Bob Petrulis
▪ Getting your cash receipts journal started, in which all transactions (including non sales) in which you receive cash are recorded.
1978
DS#74 LW p.121 read this article
Garth Fleming
▪ How about a locking mortise-and-tenon joint? Works like a dovetail with only half the hassle. With 2 drawings.
1978
DS#74 LW p.31
Anonymous
▪ Make a wooden humidity gauge. But you’ll need a hygrometer to build it by.
1978
DS#74
Norman-L. Hills
▪ A footnote to data sheet #11, fret spacing part 2: notes on hygrometers and another method of joining the neck to the body.
1978
DS#73
Paul Estenson
▪ While the traditional French polish method uses shellac and oil, with olive oil as a lubricant, qualasole is a relatively new finish material that is almost complete by itself and also seems more durable than shellac.
1978
DS#72 LT p.98
Des Anthony
▪ Combination tool is useful in a lutherie shop.
1978
DS#71 LW p.92 read this article
Rolfe Gerhardt
▪ The author uses a gang saw to produce kerfed lining strips in quick fashion. With a drawing and a photo.
1978
DS#70 LT p.42
Tony Pizzo
▪ Adjustable-shape mold for dulcimer assembly.
1978
DS#69 LT p.61
John Spence
▪ Spence uses sub-bases for his router to make rosette cavities. The sub-bases are drilled with holes that fit over a pin mounted in the center of what will be the soundhole.
1978
DS#68 LT p.99
William Spigelsky
▪ Jig for a radial arm saw.
1978
DS#68 LT p.91
William Spigelsky
▪ Binding cutter is comprised of a stack of small slitting saw blades mounted in the drill press.
1978
DS#68 LT p.88
William Spigelsky
▪ Use this bandsaw jig to cut rectangular stock into triangular unkerfed lining blanks. This tip is confusing until you realize that the box is a permanent part of the jig, and that the jig should be clamped to the saw table. The binding stock is fed through, and supported by, the box.
1978
DS#67 LT p.100
James Gilbert
▪ Radial arm saw jig will radius the face of a banjo neck to 10″ and cut it to the desired angle.
1978
DS#66 LT p.74
Hank Schrieber
▪ The power feed for this drum sander uses a separate motor.
1978
DS#65 LT p.88
Tim Olsen
▪ Machine manufacturers have become hip to the health problems that accompany the use of their equipment, and most incorporate dust collection ports into their new machines. This was hardly the case in the old days, and there are still tons of old machines in use. If you have one you are responsible for your own health, and thus the modification of your machine. The author’s ideas can be adapted to almost any bandsaw.
1978
DS#65
Rich Westerman
▪ A cheapo cheapo dust catcher and another method of sawing fret slots.
1978
DS#64 BRB1 p.373 read this article
Harry Coleman
▪ If you’re hurting for space or can’t yet afford a compressor, you may find that spraying with a tank of nitrogen makes sense. You may find that it makes sense no matter what, depending on the volume of your finish work.
1978
DS#63 LT p.41
Charles-A. Palis
▪ Spool clamp for violins and a handscrew.
1978
DS#62 read this article
Reagan Cole
▪ These paper-styrene laminates are very strong and make good forms for laminating forms in vacuum presses.
1978
DS#61 LT p.24
Chris Burt
▪ Violin maker’s knife made from a straight razor.
1977
GALQ Vol.5#4 p.29 read this article
Byron Will
▪ The music of the renaissance and baroque has undergone a rebirth in the 20th century, with musicians and makers attempting to rediscover the high level of art that was reached.
1977
GALQ Vol.5#4 p.12
Wilfrid-M. Appleby
▪ Parts 4, 5, and 6 of this series from the old Guitar News magazine of England. You can find it at www.digitalguitararchive.com/2019/11/guitar-news
1977
GALQ Vol.5#4 p.11
Wilfrid-M. Appleby
▪ A book review/lengthy digression on the dearth of guitar construction literature in the mid 60s.
1977
GALQ Vol.5#4 p.8 read this article
Dake Traphagen
▪ Traphagen’s European experience.
1977
GALQ Vol.5#4 p.7
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1977
GALQ Vol.5#3 p.29 read this article
Donald Curry
▪ The final step in the making of an instrument is the finish, which includes preparation of the wood, applying material, and final polishing.
1977
GALQ Vol.5#3 p.28 read this article
Vicki Runnion
▪ The first of many annual dulcimer conventions held at the Folklife Center of the Smokies in Cosby, Tennessee.
1977
GALQ Vol.5#3 p.27
Wilfrid-M. Appleby
▪
1977
GALQ Vol.5#3 p.26
Thomas-H. Corcoran
▪
1977
GALQ Vol.5#3 p.25
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1977
GALQ Vol.5#3 p.16
Staff
▪ Photos, lists, and captions about the GAL’s fourth national convention.
1977
GALQ Vol.5#3 p.6
Wilfrid-M. Appleby
▪ This lengthy article originally appeared in a six part version in Guitar News, which has long since ceased publication. But you can find it at www.digitalguitararchive.com/2019/11/guitar-news.
1977
GALQ Vol.5#2 p.18 read this article
Fred Carlson
▪ Even the simplest instruments must be built with love and care, and treated as magical things, or they are nothing.
1977
GALQ Vol.5#2 p.10
Joe Chromey
▪ The Catgut Acoustical Society was founded in 1963 by the late Frederick A. Saunders, formerly professor of physics at Harvard University.
1977
GALQ Vol.5#2 p.4
Kent Rayman
▪ A basic outline of who was at the festival and what was shown in the way of handmade guitars.
1977
GALQ Vol.5#2 p.3
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1977
GALQ Vol.5#1 p.11
Donald Curry
▪ The subject of molds is one which the novice might approach with some apprehension, but is an integral part of lutherie.
1977
GALQ Vol.5#1 p.5
S.L. Mossman
▪ Problems in these areas are the main reasons for small shops having a difficult time making ends meet; location, personnel management, and dealing with professional people.
1977
DS#60 LT p.58
James Gilbert
▪ Uses toggle clamps.
1977
DS#59 LT p.33
Paul Estenson
▪ The form of construction will lend itself to any type of wooden plane.
1977
DS#57 LT p.20
Shelly Sax
▪ Get the right wheels for your grinder.
1977
DS#56 BRB1 p.288 read this article
Ian Noyce
▪
1977
DS#55 BRB1 p.36 read this article
Jeffrey-R. Elliott
▪ Various chemicals have been used for centuries to color (or de-color) wood. Fiddle makers are hip to tons of these, but Elliott describes a couple that he finds useful on his guitars. He also advocates lubricating tools and work surfaces with carnauba wax, which will not contaminate your wood.
This article has been nominated as one of the Guild’s best articles published before 2010.
1977
DS#54 read this article
Reagan Cole
▪ One man’s opinion about the theoretical whys and wherefores of the transducer for acoustic instruments.
1977
DS#53
Bob Petrulis
▪ Methods for keeping track of petty cash.
1977
DS#52
Jeffrey-R. Elliott
▪ Potassium dichromate is the base of ‘beizes’ and ‘collies’ which are commonly used by European luthiers to give that nice brown ‘aged’ look to lighter woods.
1977
DS#51
Bob Petrulis
▪ Bookkeeping in a small business, such as the one you’re into or will be if the lutherie bug continues to bite.
1977
DS#50 LW p.112 read this article
Tim Olsen
▪ Necks fashioned from one hunk of wood are beautiful but wasteful. Laminated designs intended to conserve the most wood are often considered unsightly, so Olsen tackled the problem with a laminated design that offers the prettiest wood, the highest strength, and that makes the installation of a curved truss rod a snap.Pretty cool. With 7 drawings.
1977
DS#49 LW p.50
Tim Olsen
▪ Tim recalls how Jimmy D’Aquisto carves a soundboard.
1977
DS#48 LT p.73
Kent Rayman
▪ Again, this is a variation in the Ruck-Brune sander. You need to read all these articles before beginning construction of your sander in order to avoid mistakes that others have already made.
1977
DS#47 LT p.59
Kent Rayman
▪ Used inside the guitar while gluing braces or to support the top for bridge work.
1977
DS#47 LT p.59
Kent Rayman
▪ Taper attachment and protective jaws.
1977
DS#46 BRB2 p.25
Don Alfieri
▪ Flamenco guitars are very light in weight, and a conventional capo could unbalance them and even change their sustain. This all-wood capo should correct the problem.
1977
DS#45 BRB1 p.288
Ian Noyce
▪ ‘Bet you thought you knew how to tune a guitar. Some are fussier than others, right? Noyce explains that fussiness, and by examining the fussiness it can in part be designed out of the guitar. On the other hand, part of the problem is psycho-fussiness, meaning that you have to tune to suit the peculiarities of human hearing. They say that horses have perfect pitch, so tuning up must be much less of a chore for them.
1977
DS#44 BRB2 p.200
Thomas Knatt
▪ Knatt discusses the elements of classical guitar construction that help create the sound he is after, such as thinning the top, the characteristics of the action and saddle, accuracy of fret placement, and the effects of brace shaving. Mentions Carleen Hutchins.
1977
DS#43 read this article
Leo Bidne
▪ Heat pressing is the art of forming wood to a new and permanent shape with heat and pressure.
1977
DS#42
Frederick Battershell
▪ A simple tool for beveling linings after they are glued in.
1977
DS#42
Tim Olsen
▪ Tim Olsen’s primitive steam injector was made from an oil can.
1977
DS#41 LT p.72
Tim Olsen
▪ Variation on the Ruck-Brune sander, that is.
1977
DS#40 LW p.58
Dick DeNeve
▪ Variations on the basic Dobro design.
1976
GALQ Vol.4#4 p.12
Gordon Litster
▪ The last say on the Roberto-Venn issue.
1976
GALQ Vol.4#4 p.11 read this article
Bonnie Carol
▪ A report on the “In Search of the Wild Dulcimer, Kindred Gathering II”, held August 13, 14,15 1976.
1976
GALQ Vol.4#4 p.10
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1976
GALQ Vol.4#4 p.9 read this article
Donald Curry
▪
1976
GALQ Vol.4#3 p.15
John Thierman
▪ Organizational housekeeping stuff. No lutherie content.
1976
GALQ Vol.4#3 p.14 read this article
Donald Curry
▪
1976
GALQ Vol.4#3 p.13
Steve Andersen John Thierman
▪ The third installment of our little forum on the Roberto-Venn School of Lutherie.
1976
GALQ Vol.4#3 p.6
Kent Rayman Jeffrey-R. Elliott
▪ Elliott discusses his teacher Richard Schneider, opening his own shop in Michigan, and classical guitars.
1976
GALQ Vol.4#2 p.23 read this article
Theron McClure
▪ How the English luthiers created and developed a healthy market for stringed instruments.
1976
GALQ Vol.4#2 p.20
John Roberts Robert Venn Scott Thompson
▪ Response to the article, ‘Scrutiny: Roberto-Venn School of Lutherie’, which may have presented a very unfair picture of school activities.
1976
GALQ Vol.4#2 p.18
Rick Boling
▪ A thrifty violin maker selects from the woodsmen’s discards.
1976
GALQ Vol.4#2 p.16
Irving Sloane
▪ A comment on the article ‘Museum Services for Luthiers’ in volume 3 #5 and #6.
1976
GALQ Vol.4#1 p.8 read this article
Kent Rayman Alexander-I. Eppler
▪ Seattle-born Alexander Illitch Eppler is an established virtuoso, and a maker and player of balkan end-blown flutes.
1976
DS#39
Derek Iverson
▪ Some information that may be of use when planning out a guitar.
1976
DS#38 read this article
Tony Pizzo
▪ Plans for a small, simple bow with a shape adapted from an illustration in Lynn Elder’s, ‘How to Play the Bowed Psaltery’.
1976
DS#37 LT p.70
Derek Iverson
▪ Iverson’s was the first report on a truly useful shop-made thickness sander at a time when there were no inexpensive commercial units to be had.
This article has been nominated as one of the Guild’s best articles published before 2010.
1976
DS#36
E.O. Witt
▪ This comprehensive article first appeared in The Journal of the Audio Engineers Society, October 1975.
1976
DS#35 read this article
H.E. Huttig
▪ PEG is a chemical that resembles Paraffin, is non-toxic, non-corrosive, colorless and odorless, and when applied to wood, greatly improves the dimensional stability and eliminates splitting and warp problems.
1976
DS#34
John Thierman
▪ The tops of many older flat-top steel string guitars will bulge up at the bridge due to the high tension of the steel strings.
1976
DS#33 LT p.11
Lawrence Lundy W. Daum
▪ Roll up a thick tube of copper and shoot a propane torch into the back of it. that’s yet another way to make a bending iron.
1976
DS#32 LT p.14
H.E. Huttig
▪ Short history of steel and its principal alloys, plus a description of sharpening stones, and how to use and maintain them.
This article has been nominated as one of the Guild’s best articles published before 2010.
1976
DS#31
Dick DeNeve
▪ A wood storage cabinet and a simple device for temperature control.
1976
DS#30
Leo Bidne
▪ The function of this portable tool is to hold a guitar stationary and support the neck while fret leveling.
1976
DS#29 read this article
John Thierman
▪ Inlay is the process by which one substance is inserted into a background, then sanded off flush, creating a pattern within the background substance.
1976
DS#28
Tom Morgan
▪ Recent popularity of the banjo and need for dissemination of bits of info have prompted this writing, in which the topics, types of shell, wood rim construction, tone rings, adjustment of string height, and correcting neck wrap are discussed.
1976
DS#27 LT p.4
Tom Peterson
▪ Lay out one fret scale accurately, then very quickly plot the fret positions for any larger scale length with no math or measuring tools.
1976
DS#26 LT p.91
Derek Iverson
▪ Jig for drilling tuner holes in the headstocks of classical guitars.
1976
DS#25 LT p.12
Tim Olsen
▪ There is probably a heat element that you can find locally and adapt for the purpose.
1976
DS#25 LT p.11
Dick DeNeve
▪ The best thing you can do with a beer can is empty it. The next best thing might be to put a heating element in the empty can and then fill it with lead to make a bending iron.
1976
DS#25 LT p.10
Tim Olsen
▪ Four variations on the propane torch and water pipe.
This article has been nominated as one of the Guild’s best articles published before 2010.
1976
DS#24
Tim Olsen
▪ Utilizing 12 gauge plastic coated copper wire to hang an object for spraying with lacquer and other finishes.
1976
DS#23 LT p.37
Hank Schrieber
▪ A file mounted in a wooden block.
1976
DS#22 LT p.7
Tim Olsen
▪ Tape a tiny flashlight to your inspection mirror.
1975
GALNL Vol.3#5,6 p.33
Jeremy Montagu
▪ The Fellowship of Makers and Researchers of Historic Instruments (FoMRHI) is a Brittish organization which formed shortly after the GAL. They are still in business as of 2016.
1975
GALNL Vol.3#5,6 p.31
Hank Schrieber
▪
1975
GALNL Vol.3#5,6 p.30
Tim Olsen
▪ Three illustrated humorous poems that will only mean anything to luthiers.
1975
GALNL Vol.3#5,6 p.26 read this article
Theron McClure
▪
1975
GALNL Vol.3#5,6 p.25 BRB2 p.23
H.E. Huttig
▪ A number of builders impacted the lutherie scene simply by keeping the craft alive during the dark days of the ’50s and early ’60s, even though they are all but forgotten today. Company fled Castro’s Cuba to Florida, where he made all manner of guitars and Latin instruments.
1975
GALNL Vol.3#5,6 p.19 BRB2 p.48
Laurence Libin
▪ Luthiers who deal in restoration and re-creation of old instruments may find that museums may harbor help that is otherwise unavailable, and you may not have to visit the museum to avail yourself of its services. Libin discusses what museums are usually prepared to do to help researchers, and how to deal with museums when you need their help.
This article has been nominated as one of the Guild’s best articles published before 2010.
1975
GALNL Vol.3#5,6 p.17 read this article
Frederick Battershell
▪ The Successful Craftsman: Making Your Craft Your Business by Alex Bealer, is a book that promises a great deal and delivers nothing of lasting value, thus betraying its author’s profession, advertising.
1975
GALNL Vol.3#5,6 p.3
Staff
▪ The GAL purchased a very-used AB Dick offset press which they used for years to print the Guild’s publications.
1975
GALNL Vol.3#4 read this article
J.R. Beall
▪ From his convention lecture, May 29, 1975.
1975
GALNL Vol.3#3 read this article
Staff
▪ The 1975 GAL Convention was a small event by any standard, but it set the pattern for the successful GAL Conventions which followed. It had embreonic forms of the features of a modern convention: exhibition, lectures, demos, concerts. R.E. Brune hosted it at Northwestern University.
1975
GALNL Vol.3#2 p.11 read this article
J.R. Beall
▪ Commercial sales offer an opportunity to add to an income without adding to your time.
1975
GALNL Vol.3#2 p.10
H.E. Huttig
▪ A visit to the Applebys in Cheltenham on the occasion of their publication, Guitar News, coming to an end. You can find Guitar News at www.digitalguitararchive.com/2019/11/guitar-news.
1975
GALNL Vol.3#2 p.1 BRB2 p.61
H.E. Huttig
▪ Hutting happens across Manuel Davila in Guatemala City, who builds guitars that are completely original and do not follow tradition in construction and decoration.
1975
DS#21 read this article
Anonymous
▪ This pair of informative pictures was contributed to the Guild by a repairman of long experience and excellent reputation.
1975
DS#20
Robert-F. Gear
▪ Since the late 60s the national metal-bodied guitars and Dobros have become one of the hottest items among collectors, blues players, and bluegrass enthusiasts alike.
1975
DS#19 LW p.5 read this article
H.E. Huttig
▪ Terminology of lumber biz.
This article has been nominated as one of the Guild’s best articles published before 2010.
1975
DS#18 read this article
Nick Hayden
▪ A rundown on the Tamuritza family, which came first from Yugoslavia, from the smallest Prim (transposing instrument) to the Brach (alto member) to the Berda (bass member).
1975
DS#17 BRB2 p.105
Joseph Valentich
▪ The scale of instrument and string tension, string materials and string winding, core wire and wrapping wire size, and acoustic and electric strings for application to ethnic fretted instruments.
1975
DS#16
R.E. Brune
▪ After initial finish application, the surface of the instrument will appear rough and unrefined, therefore it is necessary to rub out the finish to produce a perfect surface, then apply the final polish.
1975
DS#15
Bob Petrulis
▪ The first of a series of articles on basic instrument electronics, this time covering magnetic pickups, transducer pickups, contact mics, volume and tone controls, and soldering.
1975
DS#14 LW p.114
Tim Olsen
▪ Sometimes a peghead break is so traumatic that the best plan is just to toss the old one in the trash and start over. Here’s how (using mostly hand tools), and don’t be surprised if the rebuilt neck is better than the original. With 13 illustrations.
1975
DS#13 BRB2 p.19
Doc Kauffman
▪ One of the pioneers of the solidbody guitar gives a brief description of one of the first successful pickups, complete with 3 full-scale drawings of the pickup and a sketch of its flux pattern compared to a more contemporary pickup.
1975
DS#12
R.E. Brune
▪ French polishing, after mixing and properly preparing the shellac as per the instructions in the last installment.
1975
DS#11 read this article
Scott Antes
▪ A quick, accurate method of locating any fret on any string length using figures in this table.
1975
DS#10 read this article
R.W. Burhans
▪ Information and resources for string-sound transducers, low power audio, amplifiers, electronic filters, resonant boxes, and parts and supplies.
1975
DS#9 LW p.16 read this article
David Sturgill
▪ The function of the soundboard in any musical instrument is to convert the mechanical energy produced by the strings to sound waves in the atmosphere.
1975
DS#8
R.E. Brune
▪ An elaboration on the French polish portion of the finishes data sheet, by popular demand.
1975
DS#7 read this article
Eric Henderson
▪ Bridge positioning.
1975
DS#7
Leo Bidne
▪ Quick and dirty patch for spruce.
1975
DS#7
Tim Olsen
▪ Use fine wood dust and epoxy for inlay. Duh. But this was 1975, and the first time anybody said it in print.
1975
DS#7 read this article
Nick Hayden
▪ Tips, methods, and procedures for separating glued joints.
1975
DS#6 LW p.16 read this article
David Sturgill
▪ Centuries ago, the selection and cutting of musical instrument wood was a specialized profession, and still is to some extent today.
1975
DS#5
Bob Petrulis
▪ Of the 68 responses to the luthier questionnaire, 13 claimed to be amateurs, 24 part time professionals, and 23 professionals.
1974
GALNL Vol.2#6 p.8 read this article
R.E. Brune
▪ If anyone can be said to be a successful luthier, it’s R.E. Brune. Here’s what he said about the subject in 1974.
1974
GALNL Vol.2#5 p.6 LW p.16
David Sturgill
▪ TK-Season-02_Number-01
1974
GALNL Vol.2#4 p.4
Scott Antes J.R. Beall
▪
1974
GALNL Vol.2#3 p.10
Robert-S. Anderson
▪
1974
GALNL Vol.2#3 p.9 read this article
Robert-S. Anderson
▪
1974
GALNL Vol.2#3 p.4
R.E. Brune
▪
1974
GALNL Vol.2#2 p.14 read this article
Leo Bidne
▪
1974
GALNL Vol.2#2 p.12 LW p.16 read this article
David Sturgill
▪ Sturgill expounds on his knowledge of wood and the influence of luthier Herman Weaver on his thinking.
1974
GALNL Vol.2#2 p.6
R.E. Brune
▪
1974
GALNL Vol.2#2 p.5
Harry Misuriello
▪ Anyone wishing a formal and traditional luthier education, and its attendant seriousness, should investigate the following utilities.
1974
GALNL Vol.2#2 p.4
J.R. Beall
▪
1974
GALNL Vol.2#1 p.12
Tim Olsen
▪ Early and hopeful musings. [01-21-2022]
1974
GALNL Vol.2#1 p.11 LW p.16 read this article
David Sturgill
▪
1974
GALNL Vol.2#1 p.10
J.R. Beall
▪
1974
GALNL Vol.2#1 p.8
James Arial Barry Murphy R.E. Brune
▪
1974
GALNL Vol.2#1 p.3 read this article
James Arial
▪
1974
DS#4 LW p.104 read this article
Bob Petrulis
▪ The author gives you the math to lay out the frets for any scale length and demonstrates how to use a computer spread sheet to do the same operation a lot faster. With a drawing and two charts.
This article has been nominated as one of the Guild’s best articles published before 2010.
1974
DS#3 read this article
R.E. Brune
▪ As a hobby, Brune has collected many obscure and archaic recipies for varnishes and other potions, which he discusses here.
1974
DS#2 LW p.16 read this article
David Sturgill
▪ Why certain varieties are most often chosen. Harvesting and processing info.
1974
DS#1 BRB2 p.104
H.E. Huttig
▪ Traditional Spanish style rosette making for soundholes, starting with veneer preparation.
1973
GALNL Vol.1#1 p.4 read this article
J.R. Beall
▪ The Modern Harpsichord by Wolfgang Joachim Zuckermann is a large, well illustrated, intelligently written and edited volume that lists and comments of most of the known makers of today.
1973
GALNL Vol.1#2 p.3
H.E. Huttig
▪ Eight step process for the Spanish luthier bridge gluing method.
1973
GALNL Vol.1#1 p.3
R.E. Brune
▪ The first mention of an abrasive planer in our literature. We eventually printed a lot of suggestions for different versions.
1973
GALNL Vol.1#2 p.1 read this article
J.R. Beall
▪ Beall gives here the sum of what information he has found on the subject.
1973
GALNL Vol.1#1 p.1 read this article
J.R. Beall
▪ A growing number of intelligent people are looking for work that is individual, creative, challenging, and fulfilling in the stringed instrument world.