1987
AL#9 p.34 BRB1 p.332
Dave Schneider
▪ A ’68 paisley Tele is reborn, complete with Parsons B and E benders and a complete refinishing from the foil on up.
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.
1987
AL#9 p.44 BRB1 p.201
Tim Olsen Robert Steinegger
▪ Here’s the low down on a trick Washburn bridge from 1897. A photo and drawing explain the plot line, but the mystery remains.
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.49 BRB1 p.298
Denny Rauen
▪ Rauen corrects an action problem by changing the fingerboard at a time when most repairmen were correcting the problem in the frets. He uses a multiradius fretboard which is also called a conical fretboard.
1986
AL#8 p.49 BRB1 p.298
Tim Olsen
▪ Editor Olsen figures that for the lowest string action a fingerboard must resemble a cone shape, rather than a cylinder. Find other related articles by searching for the term conical.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
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#7 p.53 BRB1 p.260
Denny Rauen
▪ Rauen’s installation procedure is meant to remove as little wood from the guitar body as possible. This is not a procedure for retrofitting the bridge system to guitars using a stock Fender-style bridge, but for dropping it onto a new body or one with a hardtail bridge.
1986
AL#7 p.56 BRB1 p.181
Sam Sherry
▪ Sherry claims his “bridge plate” style caul is a universal tool that makes bridge regluing easier.
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#7 p.29 BRB1 p.256 ALA6 p.8
Mario Maccaferri
▪ Maccaferri speaks about his life as a musician, luthier, and inventor. Mentions the Selmer company and Django Reinhardt.
This article has been nominated as one of the Guild’s best articles published before 2010.
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.3 BRB1 p.149
Dana Bourgeois
▪ Bourgeois comments about in inappropriateness of refretting many old Martin guitars with the “Teeter” epoxy method.
1986
AL#6 p.22 read this article
Ted Davis
▪ Davis interviews the great flatpicker about (mostly) nontechnical matters.
1986
AL#6 p.27 BRB1 p.103
Ted Davis
▪ Davis gives a compact history of Martin archtops and offers a blueprint of the C-3 model, then goes on to have a mock interview with Steve Kauffman’s C-3, Suzie. The plan is a reduced version of our full-scale Plan #10.
1986
AL#6 p.28 BRB1 p.106
Ted Davis
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1986
AL#6 p.34 BRB1 p.227
John Monteleone
▪ Monteleone’s lecture covers personal background, after which a question/answer segment gets to the specifics of archtop design and construction.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1986
AL#6 p.38 BRB1 p.222
Ted Davis John Monteleone
▪ This lengthy interview sheds more light on the archtop maker’s background and furnishes information about his mandolins.
This article has been nominated as one of the Guild’s best articles published before 2010.
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.52
Duane Waterman
▪ The idea of the project is to bring together several members/luthiers to build a guitar cooperatively and sell it for the benefit of the Guild.
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.
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.14 BRB1 p.154 read this article
Bobby Wolfe
▪ Wolfe explains some history of the Dobro-style resonator guitar and mentions John Dopera, then details its construction and lists some commonly seen repairs and how to deal with them. The article is completed by 8 good photos.
1986
AL#5 p.31
Gary Frisbie
▪ Frisbie states his philosophy of how a luthier should evolve his designs.
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.
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#4 p.53 BRB1 p.492 read this article
R.E. Brune
▪ The reviewer finds that this book about Renaissance and Baroque stringed instruments is “the most intense 178 pages of treatise on the art of lutherie. . . . Lots of math, and “exquisite” drawings of 33 instruments.
1985
AL#3 p.38 BRB1 p.90
Ed Mettee
▪ Photos and sketches fill out a description of a knockdown solidbody guitar that fits into a briefcase.
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#3 p.19
Paul Wyszkowski
▪ Sixty books and articles dealing with guitar acoustics are rated for legitimacy, clarity, and usefulness.
1985
AL#2 p.51 BRB1 p.487 read this article
John Bromka Ron Lira
▪ Positive reviews praise the text, photos, and ad reproductions in this book about the Larson brothers, who made instruments from the 1880s to 1944.
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#2 p.54 BRB1 p.77
Brian Mascarin
▪ They are: an archtop guitar brace jack, a modified 1/4″ phone plug to position an output jack, and a clear plastic square for scribing fret positions on a fretless bass.
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#3 p.8 BRB1 p.80
C.F. Martin-IV
▪ Martin, currently head of the Martin Guitar Company, offers some personal history and business advice to luthiers.
1985
AL#3 p.11 BRB1 p.84
C.F. Martin-III
▪ The former head of the Martin Guitar Company reminisces about his life as a guitar maker, offers a short history of the company and certain guitar models, and in the process mentions C. F. Martin Jr., Frank Henry Martin, and Mike Longworth.
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.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.25
H.E. Huttig
▪ Humorous fiction. A guitar of continental proportions is constructed with disastrous results.
1985
AL#2 p.32
Michael Dresdner
▪ A brief life history of Mario Maccaferri, including his career as a musician, his work with the Selmer Company and the Django Reinhardt guitars, his plastics manufacturing, his association with John Monteleone, and his projects as he nears retirement.
1985
AL#2 p.38
David Macias
▪ Brief overview of the 1985 event. 5 photos.
1985
AL#2 p.42 BRB1 p.78
Graham McDonald
▪ McDonald gives formulae and graphs to determine appropriate steel string gauges for nonstandard scale lengths.
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.
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.27 BRB1 p.38 ALA4 p.7
Ted Davis
▪ The article contains 4 photos, a short text, and a reduced image of our full-scale instrument Plan #8. Both pages of the very thorough drawing are presented. A chance to get an accurate preview of the plan before you buy. This is a very small flattop guitar, less than 13″ at the lower bout.
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.
1984
GALQ Vol.12#2 p.25
Paul Wyszkowski
▪ Some inklings garnered over the years of reading, listening, thinking, and building, to make a good guitar.
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.
1984
DS#279 LW p.62 ALA6 p.2
Ted Davis
▪ This rare Martin required the creation of a new harp neck as well as the repair of many top and side cracks. The plans included are also available as GAL full-scale blueprint #7. Includes 5 photos.
1984
DS#279 LW p.64 ALA6 p.4
Ted Davis
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1983
GALQ Vol.11#2 p.30
Duane Waterman
▪
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#3 p.18 LW p.68
Gerald-W. Aquino
▪ Just like it says. With 4 photos and a drawing.
1983
GALQ Vol.11#3 p.30 BRB2 p.176
Don Alfieri
▪ The goal and duties of the instrument restorationist are not always clear cut since the philosophy of restoration is not universally agreed upon. The author makes a good case for a conservative approach to the subject and the work.
1983
DS#264 LW p.60
Ted Davis
▪ New top, fingerboard, and headstock veneer. GAL plan #6.
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#2 p.12 LW p.74
Steve Klein
▪ This is a history of Klein’s unusual steel string guitars, as well as a window into the mind of one of lutherie’s most creative thinkers. Includes 5 photos as well as a plan of the top of the guitar Klein built for Joe Walsh.
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#228 LT p.66
J.V. Buehrer
▪ Uses an oversize template to index of the outsides of the router base.
1982
GALQ Vol.10#1 p.26 read this article
H.E. Huttig
▪ Huttig’s introduction to the mystery of beauty of musical instruments.
1982
DS#202 LW p.90
Eric Berry
▪ Florentine cutaways are the pointy kind. This instruction is for adding the cutaway to your basic design as construction progresses, not for adding a cutaway to an already completed guitar. With 3 drawings.
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
GALQ Vol.9#1 p.8 LT p.106
John Judge
▪ This depiction of life in the Guild guitar factory in the ’60s may open some eyes.
1981
GALQ Vol.9#2 p.10 LW p.70
Rick Turner
▪ Turner started his lutherie life as part of the Grateful Dead’s clan of artists, engineers, and craftsmen, but ended up with his own company which built distinctive electric guitars. This shop tour includes 11 photos.
1981
GALQ Vol.9#2 p.20 LW p.56 read this article
Francis Kosheleff
▪ A dozen ways to hinge or detach the guitar neck in order to make it travel-friendly.
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#186 LT p.65
Rion Dudley
▪ This guide registers on the sides of the guitar rather than the plates. It is intended for the Dremel tool, but will work with a larger router.
1981
DS#170 LT p.95
Glenn Markel
▪ Uses a drill press and an index point.
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#2 p.10 LW p.66
Richard Irwin
▪ Irwin found a small gold-painted guitar in a junk shop that turned out to be an 1850 2-24 Martin. Removing the gold paint revealed a nearly pristine guitar marred only by some pick wear. With 3 photos and a diagram of the pyramid bridge.
1980
GALQ Vol.8#1 p.12
R.E. Brune
▪ From his 1979 convention lecture.
1980
DS#152 LT p.68
James Cassidy
▪ Templates of this kind use oversized bushings on the router base as a cutting guide.
1979
GALQ Vol.7#4 p.26
Robert Webb
▪ Like the great blue whale, the harp-guitar remains on the threshold of commercial, if not biological, extinction.
1980
DS#138 LW p.118
Larry Stevens
▪ The author borrowed this dovetail system from Max Krimmel. The routing jigs are fully described, and it is recommended that the head block be routed before the body is assembled, Martin-style.
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#4 p.20 BRB2 p.62
Tim Shaw
▪ This is just about as good a description of how pickups work as you are going to find. Shaw was a main man at Gibson, and relates several of the design considerations to specific guitars. If pickups are really this easy to understand why do they seem so mysterious? Includes 4 diagrams of how pickups are built.
This article has been nominated as one of the Guild’s best articles published before 2010.
1979
DS#131 LW p.50
Jimmy D’Aquisto
▪ D’Aquisto pioneered the maturation of the archtop guitar into a versatile instrument. Here he runs down a list of design factors and what they do for the sound.
This article has been nominated as one of the Guild’s best articles published before 2010.
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#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#2 p.19
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.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.
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#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.
1977
GALQ Vol.5#3 p.26
Thomas-H. Corcoran
▪
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#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.4
Kent Rayman
▪ A basic outline of who was at the festival and what was shown in the way of handmade guitars.
1977
DS#40 LW p.58
Dick DeNeve
▪ Variations on the basic Dobro design.
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.
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.
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
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
GALNL Vol.2#5 p.6 LW p.16
David Sturgill
▪ TK-Season-02_Number-01
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.
1974
DS#1 BRB2 p.104
H.E. Huttig
▪ Traditional Spanish style rosette making for soundholes, starting with veneer preparation.
1974
GALNL Vol.2#2 p.14 read this article
Leo Bidne
▪