Tag Archives: Freeman¸ David

Offset Soundholes and Sound Wedges

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.

Thoughts on 12-String Guitars

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.

Building for Playability

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.

Questions: B-45-12 Guitar

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.

Meet the Maker: David Freeman

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.

Opinion

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?

Micro-mesh

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.

Looking at Lutherie Schools

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.

Tap It and Tune 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.