Thirty-three year GAL member David Freeman builds guitars, teaches lutherie at his school Timeless Instruments, and sells wood and supplies. He is also a sculptor in various media.
▪ bio current as of 2017
Thirty-three year GAL member David Freeman builds guitars, teaches lutherie at his school Timeless Instruments, and sells wood and supplies. He is also a sculptor in various media.
▪ bio current as of 2017
2017
AL#130 p.22
David Freeman
▪ Freeman has made a number of guitars with varying combinations of off-center soundholes, graduated body depth, rolled-over edges, and adjustable side ports. He gives us his thoughts on how these design factors interact and how they advance his quest for a more erognomic steel string guitar.
2015
AL#121 p.65
David Freeman
▪ Sanding delicate pierced inserts on two mirror-image ukuleles using a doorstop spring and an L-shaped bracket.
2013
AL#113 p.50
Roger-Alan Skipper Dana Bourgeois Frank Ford Charles Freeborn David Freeman Evan Gluck John Greven George Gruhn Arnold M.J. Hennig Bruce Petros Andy Powers Tim Shaw Marc Silber Robert Steinegger
▪ 13 builders discuss various aspects of 12-string guitars.
2012
AL#111 p.60
David Freeman
▪ A pictorial essay on the construction of David Freeman’s spiral rainbow rosette.
2011
AL#108 p.65
David Freeman
▪ Issues associated with leaving the perimeter of the top flat or doming up to the sides when using the Solera.
2010
AL#102 p.3 read this article
David Freeman
▪ Adding to the discussion of neck rake after reading Calkin’s article in AL#99.
2009
AL#99 p.7 ALA4 p.52
David Freeman
▪ Some features of guitar construction make the instrument functional for normal humans and tuneful music making, and getting them wrong can/will destroy the guitars usefulness. Other features aren’t necessary but may make the instrument more comfortable to play or offer extended musical capabilities. Freeman addresses both aspects in this article taken from his 2008 GAL convention workshop. He’s not the least bit shy about reconfiguring the guitar’s shape or features to make musicians better and happier. Whether or not you wish to make such alterations, much of this stuff you better know if you wish to make musical instruments rather than guitar-shaped objects. With 5 photos, 3 charts, and a drawing.
2006
AL#85 p.62
David Freeman
▪ Strategies for minimum damage when flying with guitars.
2001
AL#68 p.66
David Freeman
▪ The new comfortable pleated dust masks now available.
2001
AL#68 p.66 BRB6 p.326
Robert Steinegger David Freeman
▪ Info on the B-45-12, the best Gibson 12 string ever built, according to chapter 9 of Gibson’s fabulous flat-top guitars, by Whitford, Vinopal, and Erlewine.
2001
AL#67 p.65 BRB6 p.457
David Freeman
▪ John Calkin’s wet inlay technique as a shortcut to cutting pearl and abalone, or as a cost saving method.
2000
AL#62 p.18 BRB6 p.42
Jonathon Peterson David Freeman
▪ Freeman is an independent thinker who builds a wide variety of instruments and runs his own lutherie school in Canada. He’s also outspoken and articulate. You’ll be glad you met him here. With 21 photos.
1995
AL#44 p.56
David Freeman
▪ Freeman tries to decide what musicians really want from an instrument. Well, he and we all know what they want, but how can we possibly give it to them?
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.
1992
AL#32 p.67 BRB3 p.489
David Freeman
▪ Effective method for stickering wood for storage.
1992
AL#32 p.69
David Freeman
▪ Failure of Sabine model 1500 electronic tuner to respond to the low E on an acoustic guitar.
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.
1990
AL#22 p.49 BRB2 p.484
David Freeman Ralph Novak
▪ Water base finishes are more labor intensive but the trade offs of health and fire hazard are worth it.
1987
AL#12 p.58 BRB1 p.470
David Freeman
▪ These three articles augment Tim Olsen’s initial bass offering in American Lutherie #9, and as a collection they still offer the largest fund of information on the creation of the acoustic bass guitar to reach print.