1992
AL#31 p.67 BRB3 p.501 read this article
R.E. Brune
▪ Remembering Hart Hutting II, an avid aficionado of flamenco and selfless contributor to the GAL since it’s inception.
1992
AL#32 p.16 BRB3 p.250 ALA5 p.10
R.E. Brune H.E. Huttig
▪ Huttig began importing guitar parts and European tonewood in the 1950s, and was a hard-core enthusiast of the classical guitar even before that. As a businessman and a friend to musicians and luthiers his life had far-reaching fallout. Mentions Barbero, Bobri, Hauser II, Hernandez, Romanillos, Ramirez, Esteso, and so on.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#31 p.7 BRB3 p.203
Jose Romanillos
▪ Romanillos co-authored the catalog for the Exhibition of Spanish Guitars in the Metropolitan Museum of Art, and he asks that R. E. Brune elucidate upon his statement that the catalog contained inaccuracies (AL#29).
1992
AL#31 p.7 BRB3 p.203
R.E. Brune
▪ Brune answers Romanillos letter, above.
1992
AL#31 p.8 BRB3 p.212 ALA3 p.44
R.E. Brune
▪ Brune visits with, measures, and draws Segovia’s most famous guitar. The plans offered are a reduced version of GAL full-scale Plan #33. Brune feels that the guitar misses the maestro. With 19 photos.
1992
AL#31 p.21 BRB3 p.9 ALA3 p.48
R.E. Brune
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1992
AL#31 p.30 BRB3 p.224 read this article
John Decker
▪ This alternative to wood is outside the reach of most luthiers. It’s interesting to know how hard some are working to make graphite sound like wood. Graphite might have its own sound to offer, but once again inventors have to deal with what humans are used to, rather than with what they might have if they were more open minded. With 7 photos.
1992
AL#31 p.45
Gila Eban
▪ Eban salutes a man whose generosity helped many persons on their quest for the good life as luthiers.
1992
AL#30 p.56 BRB3 p.469 read this article
Lloyd Zsiros
▪ The reviewer finds that although the book offers no information on playing or building guitars, it is otherwise an excellent resource and a pleasure to read. The photos are excellent and the book covers a lot of ground.
1992
AL#29 p.59 BRB3 p.468 read this article
Lloyd Zsiros
▪ The reviewer likes this video at first, but after repeated viewing finds it comes up short. If you have all the books and still can’t get motivated, perhaps this tape will help.
1992
AL#30 p.10 BRB3 p.200 ALA4 p.24
Paul Hostetter Maurice Dupont
▪ Meet a French guitar maker whose specialty is the recreation of Selmer guitars. Dupont even mills his own spruce. He is one of the more accessible foreign luthiers, and his guitars are available in the States. Mentions Maccaferri, Django Reinhardt.
1992
AL#30 p.16 BRB3 p.136 read this article
Alan Carruth
▪ Accessibility and usefulness are the keys to this segment of Carruth’s study. He addresses the archtop, flattop, and classical guitars, and even builds a flattop out of oak to compare its tuning modes to conventional tonewoods. With many mode diagrams and plate graduation charts. Too many scientific studies leave the luthier asking, “So what do you want me to do?” Carruth offers some real-world suggestions. Parts One and Two were in AL#28 and AL#29.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1992
AL#30 p.40 BRB3 p.206 ALA5 p.18
Jonathon Peterson Richard Schneider
▪ Many still have doubts about the merits of the Kasha versions of the classical guitar, but no one questions Schneider’s reputation as a masterful creator of instruments. This interview focuses on his time spent in Mexico learning the trade from Juan Pimentel.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1992
AL#29 p.42 BRB3 p.136 read this article
Alan Carruth
▪ Carruth tries to keep it light as he describes the glitter dances that should improve your violins, and even sheds light on cello plate tuning. If you feel threatened by the dryness of science just relax and give it a try. Carruth is on your side. Really. With a whole bunch of drawings. Part One was in AL#28. Part Three follows in AL#30. The entire series appears in BRB3.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#29 p.6 BRB3 p.194 ALA3 p.2
R.E. Brune
▪ Brune outlines the first major exhibition of Spanish guitars ever mounted in America. With 8 photos, including one of Santos Hernandez. Also mentions Torres, M. Ramirez, Segovia, Simplicio, Barbero, Romanillos, and others.
1991
AL#27 p.60 BRB3 p.465 read this article
C.F. Casey
▪ The reviewer finds this book to be mostly a rehash of Irving Sloane’s Classic Guitar Construction.
1991
AL#26 p.59 BRB3 p.464 read this article
Harry Fleishman
▪ The reviewer admires the beauty of the book’s photography, but seems hesitant to recommend it since so little of it is dedicated to musical instruments.
1991
AL#27 p.4 BRB3 p.80
Chris Brandt R.E. Brune Jeffrey-R. Elliott Richard Schneider Ervin Somogyi David Wilson
▪ A look inside the shops of six professional luthiers, featuring floor plans, tooling descriptions, notes on lighting and specialized machinery, and ideas about how work space can help (or hurt) your lifestyle. With a good Q&A segment and 63 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1991
AL#27 p.52 BRB3 p.122 ALA5 p.21
Jonathon Peterson
▪ Richard Schneider discusses his current work at “the most beautifully situated guitar shop in the world.” The Kasha influence upon the classical guitar keeps evolving in the hands of this masterful builder/teacher.
This article has been nominated as one of the Guild’s best articles published before 2010.
1991
AL#25 p.52 BRB3 p.30 read this article
Michael Keller
▪ Silicon heat blankets are good for more than bending sides. Keller touches upon other uses, but his instructions for making forms and putting them to use is the focus here, and they cover about all you need to know. Once you have the blanket, the forms are cheap to make.
This article has been nominated as one of the Guild’s best articles published before 2010.
1991
AL#25 p.5 BRB3 p.505 read this article
Chris Hanlin
▪ Announcing the passing of luthier and mentor Bob Mattingly.
1991
AL#25 p.6 BRB3 p.16
Steve Banchero David Freeman Larry Kirmser David Vincent Donald Warnock
▪ A panel of lutherie teachers talks it over at the 1990 GAL Convention.
1991
AL#25 p.21 BRB3 p.482
C.F. Casey
▪ This is one way to make a rosette when you are tired of simple circle patterns.
1991
AL#25 p.22 BRB3 p.2
Kevin Aram
▪ Aram offers an anecdotal history of one of the most influential classical guitars of our time. With 26 photos. Mentions Hauser I, Torres.
This article has been nominated as one of the Guild’s best articles published before 2010.
1991
AL#25 p.32 BRB3 p.12
Kevin Aram
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1990
AL#23 p.54 BRB2 p.420
Gabriel Petric
▪ AL #23 takes its second glimpse at instrument making in a strange land and finds that the concerns of luthiers are the same the world over. With 7 photos.
1990
AL#23 p.20 BRB2 p.398
Jonathon Peterson George-A. Smith
▪ Smith is a veteran builder of many instruments who prefers to specialize in guitars and harpsichords.
1990
AL#23 p.24 BRB2 p.414
Roberto Blinder Jose Yacopi
▪ Blinder interviews an Argentine instrument maker about his career, his guitars, wood, and strings. With 4 photos.
1990
AL#22 p.10 BRB2 p.372
R.E. Brune
▪ Brune maintains that strict definitions separating the classical and flamenco guitars were not formulated until the 1950s, before which they often shared many of the characteristics that now separate them.
This article has been nominated as one of the Guild’s best articles published before 2010.
1990
AL#22 p.18
John Larsen
▪ Larsen built his first guitar in 1950. His article describes the difficult road folks had to follow before the Information Age engulfed lutherie.
1990
AL#21 p.8 BRB2 p.346
Jose Romanillos
▪ A dedicated person lives a life of joy and frustration. Finding a suitable balance is the tough part. Romanillos aims his thought at the guitar and strikes a much larger target.
This article has been nominated as one of the Guild’s best articles published before 2010.
1990
AL#21 p.32 BRB2 p.358
Jeffrey-R. Elliott Cyndy Burton
▪ The authors make a cross-country pilgrimage to examine two world famous classical guitars, one by Manuel Ramirez and one by Hermann Hauser Sr. The wonder is that there are riddles there yet to be solved.
1989
AL#20 p.21 BRB2 p.319
Jonathon Peterson
▪ William McCaw is a builder in pursuit of the $1000, high quality classical guitar.
1989
AL#20 p.58 BRB2 p.482
J.G. Molnar Marc Silber
▪ Cantos work was primitive but his materials good; the flamencos being of real Spanish cypress with fairly good spruce tops.
1989
AL#19 p.23 read this article
H.E. Huttig
▪ Farewell to a jazz guitarist/repairman.
1989
AL#19 p.24 BRB2 p.250
R.E. Brune
▪ A guitar that may have belonged to Marie Antoinette is brought back to playing condition. This article gives a good picture of what goes into the restoration of a museum-quality instrument. With 13 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1989
AL#19 p.56 BRB2 p.496
Jeffrey-R. Elliott Cyndy Burton
▪ The reviewers find this book to be “a significant resource. . .densely packed with information both useful and interesting.” The evolution of the classical guitar, as described by Romanillos, should be of interest to all contemporary builders.
This article has been nominated as one of the Guild’s best articles published before 2010.
1989
AL#18 p.20 BRB2 p.222
Graham Caldersmith
▪ Caldersmith and the Canberra Guitar Ensemble work toward developing a series of classical guitars to match the range of the violin family.
1989
AL#18 p.38 read this article
Phil Banks
▪ Banks, like many before him, attempts to display on paper the movements of an excited guitar top.He is uncertain of his results, but his illustrations are certainly foxier than a normal graph or oscilloscope printout.
1988
AL#15 p.46 BRB2 p.86
R.E. Brune
▪ An intense description of Japanese classical guitar making taken from Brune’s convention lecture. Life in Japan is probably not much like you imagine it to be, it is far more interesting. The Q&A segment deals more with Brune’s own guitar work. With 21 photos inside a Japanese “factory.”
1988
AL#16 p.3 BRB2 p.80
Beverly Maher
▪ Maher adds corrections to AL # 8 and #13. She mentions that Segovia’s famous Hauser guitar was from 1937, and that it is at home in the Metropolitan Museum of Art.
1988
AL#16 p.3 BRB2 p.80
Jeffrey-R. Elliott
▪ Elliott corrects his own mistake about the year of Segovia’s most famous Hauser guitar.
1988
AL#14 p.59
Richard Jordan
▪ Jordan used spruce of different stiffness to brace three nearly identical classical guitars, and found the differences to be dramatic. His stiffness test was especially easy to run.
1988
AL#14 p.60 BRB2 p.490
Cyndy Burton
▪ This book, which has since become sort of the Bible of guitarmaking, is described by the reviewer as “the book we’ve all been waiting for.”
1988
AL#13 p.7 BRB2 p.5
Richard Schneider
▪ Schneider tells of his first, and rather strange, meeting with Segovia.
1988
AL#13 p.40 BRB2 p.20
J. Jovicic O. Jovicic
▪ This is a scientific analysis of how variations in picking a note change the response of the classical guitar. Translated from the French.
1987
AL#12 p.14 BRB1 p.402
J. Jovicic O. Jovicic
▪ This article is more technical talk translated from the original French publication in Acustica. With 51 reproductions of laser interferograms. Part 1 was in American Lutherie #10.
1987
AL#12 p.22 BRB1 p.454 ALA3 p.4
Joseph Bacon Jeffrey-R. Elliott
▪ A lengthy interview with the well-known maker of classical guitars covers such subjects as training, wood seasoning and supply, finishes, and boomerangs. Cyndy Burton participates. Mentions Hauser Sr., Michael Kasha, Richard Schneider, Ralph Towner, and Julian Bream. With 4 photos.
1987
AL#12 p.64 BRB1 p.503 read this article
David Macias
▪ The reviewer encourages all students of the guitar to read this book, regardless of their special interests.
1988
AL#13 p.6 BRB2 p.2
R.E. Brune
▪ Brune’s anecdotes help close the gap between the man and the legend.
1988
AL#13 p.7 BRB2 p.4
H.E. Huttig
▪ Huttig relates a story about the instrument that was the center of the classical guitar universe for decades, the Hauser played by Segovia.
This article has been nominated as one of the Guild’s best articles published before 2010.
1987
AL#10 p.48 BRB1 p.402
J. Jovicic O. Jovicic
▪ Serious research using a classical guitar with four different brace patterns. The experiment started with a simplified fan brace pattern, and fan braces were added for subsequent evaluation. Translated from the French. Part Two is in AL#12.
1987
AL#10 p.62 BRB1 p.500 read this article
Cyndy Burton
▪ Workbook format, large, 160 photos and diagrams, and spiral binding are great advantages of this nuts and bolts straight method book.
1987
AL#11 p.12 BRB1 p.420
Gila Eban
▪ Eban builds Kasha-style classical guitars. She comments at length about how her aesthetic concept for the guitar evolved, and offers many details of her construction procedures. Her descriptions of her work are so entrancing that you will long for more photos than the five that are offered. With rosette drawings.
1987
AL#9 p.52 BRB1 p.344
William Conrad
▪ A Patron is the workboard used to build a guitar in the Spanish style. Conrad explains how to build one, and the reasoning behind it.
1987
AL#9 p.56 BRB1 p.498
C.F. Casey
▪ The reviewer believes that the book may help an experienced luthier adjust his “attitude” toward his craft and thereby make a better instrument. The beginner may not find it so useful.
1987
AL#9 p.56 BRB1 p.499 read this article
Joseph-R. Johnson
▪ The reviewer finds that the book “falls short of being a thorough international bibliography, but will prove valuable to guitar and vihuela teachers, students, and luthiers.”
1987
AL#10 p.3
Gila Eban
▪ Eban adds a correction to her article in AL#8.
1987
AL#10 p.6 BRB1 p.358
H.E. Huttig
▪ Bobri was an artist and a patron of the arts, a composer and transcriber of guitar music, president of the New York Guitar Society, and editor of Guitar Review. Huttig’s admiration for the man is obvious in this salute following Bobri’s death by fire.
1987
AL#9 p.32 BRB1 p.330
H.M. Kolstee
▪ Kolstee’s adjustable bridge saddle is made of bone, except for the locking set screw. It is easily adjustable for intonation and uses shims to adjust the string height.
1987
AL#9 p.36 BRB1 p.334 read this article
H.E. Huttig
▪ Have you ever wondered how cat gut strings were named? This article suggests an answer as it delves into some string facts and fictions.
1987
AL#9 p.42 BRB1 p.336
Richard Jordan
▪ Jordan’s article outlines all the steps he uses to shape a classical headstock. He cuts the slots with Dremel router, router base, and fence, and they come out very clean.
1986
AL#8 p.8 BRB1 p.266
Gila Eban
▪ Eban charts the design evolution of the Kasha system of classical guitars as applied to her own instruments. With many drawings, glitter tests, and a discussion of different materials.
1986
AL#8 p.16
William Conrad
▪ Conrad finds that spruce tops can be graded for density by the color of the light that shines through them, and uses a camera light meter to calibrate them.
1986
AL#8 p.18 BRB1 p.274 ALA3 p.8
Jeffrey-R. Elliott
▪ This lecture transcription presents a chronological overview of the work of Hermann Hauser Sr. 26 photos and 3 drawings complete the article. A major investigation of some important guitars.
1986
AL#8 p.28 BRB1 p.283 ALA3 p.16
Jeffrey-R. Elliott
▪ Elliott offers a scale drawing, dimensions list, and a bill of materials for a Hauser guitar. The drawing is a reduced version of our full-scale Plan #12.
1986
AL#8 p.30
Graham Caldersmith Jim Williams
▪ This interview covers the evolution of Smallman’s guitars as he worked his way toward the lattice bracing system for which he has become famous. Classical guitar lore from the outback of Australia.
1986
AL#8 p.35 BRB1 p.463
Francis Kosheleff
▪ Kosheleff changes the treble quality of his classical guitars by using three steel strings run through the standard bridge and then attached to a tailpiece.
1986
AL#8 p.36 BRB1 p.290
Michael Kasha
▪ Kasha firmly maintains that science has much to offer instrument design, but also claims that the best tone may be simply what the public is used to, and that this interesting variable can be tracked but not predicted. He believes that tone perception is as important as tone production.
This article has been nominated as one of the Guild’s best articles published before 2010.
1986
AL#8 p.38 BRB1 p.292 ALA5 p.7
Jose Ramirez-III
▪ Ramirez expounds upon his experiments with classical guitar top thickness and bracing patterns and size to achieve the best tone and stability.
1986
AL#8 p.44
David Macias
▪ Macias describes a pleasant festival of lectures, discussion, and music.
1986
AL#8 p.3 BRB1 p.466
J.G. Molnar
▪ Molnar shares interesting anecdotes about the difference between Spanish guitars made for export, which he maintains reach our shores unfinished, and those finished by the shops for use in Europe.
1986
AL#8 p.3
R.E. Brune
▪ Brune maintains that innovations in the classical guitar have happened on a regular basis in recent history, and do not depend solely on the work of Dr. Kasha to bring the instrument up to date.
1986
AL#5 p.53 BRB1 p.496 read this article
Gila Eban
▪ The reviewer finds the book to be of interest to the luthier, even though it offers little technical information about guitars.
1986
AL#6 p.45
Paul Wyszkowski
▪ Wyszkowski offers a luke-warm acceptance of the potential of the Kasha guitar as interpreted by Richard Schneider.
1986
AL#6 p.45
Carl Margolis
▪ Margolis defends the Kasha guitar system, using the Kasha-influenced instruments of Steve Klein examples.
1986
AL#5 p.10 BRB1 p.150
Ted Davis William DelPilar
▪ Davis offers his conversation with a professional luthier who made over 800 classical guitars between 1956 and 1986.
1986
AL#5 p.41 BRB1 p.195
Tom Blackshear
▪ Blackshear describes his method of thinning the top of an assembled guitar to enhance the tone.
1986
AL#5 p.7
Jim Williams
▪ Williams endorses scientific guitar design and refers to the work of Australian guitar maker Greg Smallman. Also brings up the names of Kasha and Brune.
1986
AL#5 p.7
Peter Estes
▪ Estes mentions the negative feedback he received about his GAL contribution, Data Sheet #290, in which he recommended a specific method of fitting backs to guitars.
1985
AL#4 p.11 BRB1 p.99
William Cumpiano Manuel Velazquez
▪ Velazquez fields a number of questions about the specifics of building the nylon-strung guitar, including types of glue, choice of wood, construction design, and finishing.
1985
AL#4 p.20 BRB1 p.114
David Macias
▪ Macias relates an interesting anecdote about the first maple classical guitar he built, then translates a Pujol description of the Tarrega guitar made by Torres.
1985
AL#4 p.36 BRB1 p.140 ALA5 p.2
William Tapia
▪ Tapia relates the history of Ramirez guitars and tells of his time there learning to properly repair them.
1985
AL#4 p.39 BRB1 p.145 ALA5 p.6
William Tapia
▪ Tapia describes the method used to make guitar nuts in the Ramirez shop.
1985
AL#4 p.42
Gila Eban
▪ Eban takes on Paul Wyzskowski as she champions the design innovations of Michael Kasha. She has incorporated many of Kasha’s changes into her own classical guitars. Her rebuttal mentions Richard Schneider, Jamey Hampton, and Graham Caldersmith.
1985
AL#4 p.42
R.E. Brune
▪ Brune, a defender of traditional values, defends his criticism of the Kasha innovations, along the way mentioning Schneider, Hampton, and Segovia.
1985
AL#3 p.19
Paul Wyszkowski
▪ Sixty books and articles dealing with guitar acoustics are rated for legitimacy, clarity, and usefulness.
1985
AL#4 p.8 BRB1 p.96
William Cumpiano
▪ Cumpiano shares a pleasant visit with Velazquez in Puerto Rico where the conversation is all about classical guitars, wood, compensation factors, and balancing the tone of the instrument.
This article has been nominated as one of the Guild’s best articles published before 2010.
1985
AL#2 p.53 BRB1 p.488 read this article
C.F. Casey
▪ The reviewer calls this the best of the popular (as opposed to scholarly) histories of the guitar.
1985
AL#3 p.2
Paul Wyszkowski
▪ Wyszkowski rebuts R. E. Brune’s criticism of the work of Dr. Kasha in AL#1 and mentions the work of Richard Schneider, then goes on to counter a criticism of the GAL.
1985
AL#3 p.5
Jamey Hampton
▪ Hampton counters R. E. Brune’s criticism of Michael Kasha in AL#1, and draws upon Jose Ramirez III to help defend the scientific philosophy of guitarmaking.
1985
AL#1 p.54 BRB1 p.486
William McCaw
▪ The reviewer praises the book as the most logical of the construction methods he has read, but takes issue with some specific techniques.
1985
AL#2 p.20 BRB1 p.68
Graham Caldersmith
▪ Caldersmith discusses the efficiency and pattern of sound radiation in the classic guitar produced by the four lower resonance modes, which he calls monopole, cross dipole, long dipole, and tripole. Mentions Tom Rossing, Gila Eban, Paul Wyzskowski, Fred Dickens, Michael Kasha, Richard Schneider, and Greg Smallman.
1985
AL#2 p.38
David Macias
▪ Brief overview of the 1985 event. 5 photos.
1985
AL#1 p.53
William McCaw
▪ McCaw ruined a classic peghead when the cheap collar of his router gave way.
1985
AL#1 p.5
Paul Wyszkowski
▪ Wyszkowski defends assertions he made in a previous article (Vol. 12, #4, GAL Quarterly) concerning sound radiation of the (1,0) mode in the classic guitar. His assertion is based on the work of William Strong and Graham Caldersmith. Criticism was made by Gila Eban.
1985
AL#1 p.38 read this article
R.E. Brune
▪ Brune criticizes the theoretical design work of Dr. Michael Kasha, concluding that it is in fact less scientific than the empirical work of luthiers untrained in physics.
This article has been nominated as one of the Guild’s best articles published before 2010.
1985
AL#1 p.42 BRB1 p.13
Ted Davis
▪ Davis presents a drawing of a jig for properly forming the sides and lining of a guitar to accept a domed back. The sides are held in a mold while a sanding stick, held by a central post, is passed over them.
1984
DS#289 BRB2 p.456
Duane Waterman William Tapia
▪ Mattingly was one of the most respected classical builders in America before his death. This article examines some of the unusual construction techniques he used.
1984
DS#294 BRB2 p.340
Ted Davis
▪ Various theories and attempts to involve more of the top of classical guitar in sound production, including the methods of Robert Bouchet.
1983
GALQ Vol.11#3 p.10 BRB2 p.154
H.E. Huttig
▪ The author visited Hauser in Germany in 1966. This short biography and remembrance adds a bit of humanity to a man who is usually only thought of in terms of the guitars he left behind when he died. With 2 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1983
GALQ Vol.11#1 p.12 BRB2 p.109
David Fisher H.E. Huttig
▪ H.E. Huttig, wood merchant, writer, world traveler, experimenter, practical musicologist, lover of life, guitar maker.
1983
DS#238 BRB2 p.340
Ted Davis
▪ The author began building classical guitars before there was much written help out there, and he evolved his design specs by making a lot of guitars. Some of these have been absorbed into the general body of classical guitar literature, other remain unique. With 14 drawings and 2 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1983
DS#243 BRB1 p.214
Gila Eban
▪ Eban offers an eloquent argument for trying the Kasha system in your own shop, as well as many details of her own guitars. A page-sized blueprint is included. She maintains that there is a philosophy and an aesthetic behind the Kasha design that is self-revealing and pleasing to work with, and that the design will always be under-realized until a larger number of builders have come to understand and absorb it.
This article has been nominated as one of the Guild’s best articles published before 2010.
1982
GALQ Vol.10#4 p.8 BRB1p.346 read this article
Graham Caldersmith
▪ Caldersmith loves the scientific aspects of instrument design, and offers this primer to help explain what’s going on in an excited classical or steel string guitar without going off the scientific deep end. The most interesting part is that in his update (17 years later) he has reversed is position on how to use this information. Information doesn’t change as much as how we use it, and we can’t use it if we don’t understand it. That, in a nutshell, is the acoustician’s tenant.
1983
DS#235 BRB2 p.452
Paul Wyszkowski
▪ It’s well known that designing a guitar for longevity and designing a guitar for best performance may drag the designer in opposite directions. Guitar construction is a compromise (like life itself). The author takes a closer look at the situation. With 1 drawing.
1982
DS#204 BRB2 p.289
Kent Rayman
▪ The author uses a table saw and no jigs to help speed up the creation of classical guitar bridges. With 5 drawings.
1981
DS#183 BRB2 p.282
Duane Waterman
▪ The author uses a series of drawings to help explain the creation of a unique but tradition method of attaching the headstock to a guitar neck.
1981
DS#171 BRB2 p.201
Paul Wyszkowski
▪ The author uses a light approach to science to explain the function of the classical guitar top and attempts to translate the functions of physics into a form the luthier can use at the bench.
1980
GALQ Vol.8#1 p.12
R.E. Brune
▪ From his 1979 convention lecture.
1979
GALQ Vol.7#4 p.20 read this article
David Macias
▪ Macias on authentic flamenco guitar and the art of lutherie.
1979
GALQ Vol.7#1 p.14
R.E. Brune
▪ Is Torres the creator of the modern classical guitar? This article seeks to answer this and other questions.
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
DS#68 LT p.99
William Spigelsky
▪ Jig for a radial arm saw.
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#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#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
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#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#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.
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
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.
1974
GALNL Vol.2#3 p.9 read this article
Robert-S. Anderson
▪
1974
DS#1 BRB2 p.104
H.E. Huttig
▪ Traditional Spanish style rosette making for soundholes, starting with veneer preparation.