R.E. Bruné was on the Guild’s very first membership list in 1972. He’s a GAL founding member, a former Guild president and board member, the organizer of our 1975 convention, and a frequent author and lecturer. He’s a classic guitar maker and dealer, flamenco artist, and father of a luthier. And a grandpa, perhaps of a luthier. We’ll see.
▪ bio current as of 2017
2021
AL#142 p.6
Cyndy Burton Jose Romanillos R.E. Brune Jeffrey R. Elliott Kevin Aram Gary Southwell Simon Ambridge
▪ The great classical guitarist Julian Bream was well known for supporting and encouraging contemporary composers and promising young players. Less noticed by the public, but of special importance to luthiers, was Bream’s work with a handful of classical guitar makers from whom he commissioned the fine instruments that he played. In this article, those luthiers offer memories of their interactions with Julian Bream. Mentions Hermann Hauser Sr.
2020
AL#139 p.3
R.E. Brune
▪ Brune has donated several drawings of fine Spanish guitars to the GAL . Here he talks about why he thinks it was a good idea.
2018
AL#135 p.60 read this article
Federico Sheppard R.E. Brune Peter Oberg
▪ Good ol’ Bob Ruck was part of the dozen or two friends whose talent and commitment formed the basis for the American Lutherie Boom. He was always way ahead of the curve, and as they developed, his fine classical guitars provided inspiration for others of his generation. Three friends who knew him well share their appreciations. Article mentions Hart Huttig, J.R. Beall, John Shaw, Ervin Somogyi, Manuel Barrueco, Neil Ostberg, yoga, tai chi.
2017
AL#129 p.56 read this article
Cyndy Burton Marc Silber Brian Burns Michael Gurian Jay Hargreaves R.E. Brune Jeffrey R. Elliott Federico Sheppard
▪ Eugene Clark (1934-2016) was one of the earliest and most influential pioneers of the American Lutherie Boom. Mentions Manuel Ramirez, Domingo Esteso, Santos Hernandez, Jon Lundberg, Freddie Mejia, David Rubio, Michael Gurian, David Santo, Lucien Barnes, Freddie Mejia, David Serva, Warren White, Manuel Velazquez, Manouk Papazian.
2017
AL#130 p.59 read this article
R.E. Brune
▪ Cooper was an early member of the GAL as well as a maker of large and detailed airplane models. He wrote what was at the time the only book in English about making a lute, based on the work of the Hauser family. He’s fondly remembered by R.E. Brune, who built lutes from that book in the 1970s.
2016
AL#126 p.34
R.E. Brune
▪ In 1992, GAL stalwart R.E. Brune measured and photographed this instrument, which Segovia famously called “the greatest guitar of our epoch” at the Metropolitan Museum of Art in New York. Technology has changed for the better since then, and we are delighted to present this new edition of the plan, featuring color printing and razor-sharp lines.
2016
AL#126 p.36
R.E. Brune
▪ In 1992, GAL stalwart R.E. Brune measured and photographed this instrument, which Segovia famously called “the greatest guitar of our epoch” at the Metropolitan Museum of Art in New York. Technology has changed for the better since then, and we are delighted to present this new edition of the plan, featuring color printing and razor-sharp lines.
2016
AL#125 p.28
Federico Sheppard R.E. Brune
▪ On his quest for the secrets of Santos, Federico visits a permanent exhibit of Santos’ original tools and forms.
2016
AL#125 p.34
R.E. Brune
▪ A detailed plan of a nice Santos flamenco guitar in the personal collection of R.E. Brune. A full-scale instrument plan. See the GAL website for a low-rez preview.
2011
AL#108 p.68
R.E. Brune
▪ Sources of information on the builder Luis Reig III.
2011
AL#108 p.70 read this article
Mike Ashley Robert England R.E. Brune David Laplante Charles Vega
▪ Remembering Joseph Wallo (1921-2009) Internationally known maker of the finest in concert guitars.
2011
AL#107 p.12
R.E. Brune
▪ R.E. Brune, founder of a lutherie family dynasty now in it’s third generation, traces modern lutherie to it’s earliest roots in what is modern day Bavaria Germany. From his 2011 GAL convention lecture.
2011
AL#106 p.8
R.E. Brune
▪ A mini-biography on Enrique Sanfeliu.
2010
AL#102 p.68 read this article
R.E. Brune
▪ A Stradivari top being made of Douglas Fir is a virtual impossibility.
2010
AL#101 p.68
R.E. Brune
▪ Depth dimensions of GAL instrument plan #33: Hauser by R.E. Brune.
2009
AL#97 p.28
R.E. Brune Eugene Clark John Park Jeffrey R. Elliott
▪ This is a transcription of a 2006 GAL convention panel discussion. Put a tap plate on a classical guitar; now do you have a flamenco guitar? Differences between the two guitars have largely been accentuated by the modern need to specialize and categorize. But beyond that, this is a fascinating conversation between four of the leading builders in the field and you don’t have to be a maker of nylon strung guitars to enjoy the details they offer and their pleasure in each others company.
2007
AL#91 p.69
R.E. Brune James Westbrook
▪ What does one do with a historical instrument that has been badly treated?, in this case a Cypress Spanish guitar made by Santos Hernandez in 1919, given a glossy paint job, then stripped and sanded in the 1970s.
2005
AL#84 p.3 BRB7 p.545
R.E. Brune
▪ Brune comments on the restoration of the Torres guitar covered in AL #83. Brune worked on this guitar previous to Elliott’s restoration, and he offers two more photos of the instrument.
2005
AL#84 p.28 BRB7 p.404
R.E. Brune
▪ This Meet the Maker article focuses on a Spanish luthier who has been in the business since 1949. With 30 photos of four guitars.
2004
AL#80 p.61 BRB7 p.349
R.E. Brune
▪ A highly valued classical guitar from the 60s that has developed a dish between the bridge and the sound hole.
2004
AL#79 p.6 BRB7 p.206
R.E. Brune
▪ In a sense Brune is laying down the law for successful classical guitar making. Much of it will be useful to any builder, and all of it is interesting because Brune is an interesting man who has his thoughts together. Not to mention that he’s a heck of a luthier with a deep background in the history of his craft. With 30 photos and 8 diagrams. Mentions Santos Hernandez, Marcelo Barbaro, Ignacio Fleta, Hermann Hauser, Sr.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
2002
AL#72 p.63 BRB6 p.374
Jeffrey R. Elliott R.E. Brune Stewart Pollens Byron Will Michael Darnton Frank Ford
▪ Thoughts from various folks representing different instruments and approaches on restoration label do’s and don’ts for severely damaged guitars.
2000
AL#62 p.3 BRB6 p.81
R.E. Brune
▪ Mentions the death of Jim Norris, who “was instrumental in bringing the classical guitar to Chicago in the late 1950s and early 1960s…”
2000
AL#61 p.64 BRB6 p.113
R.E. Brune
▪ Info on typical string clearances at the 1st and 12th frets on a flamenco guitar, based on GAL plan #42 (1951 M. Barbero) by R.E. Brune.
1999
AL#60 p.4
R.E. Brune
▪ Brune’s letter gives us an update of the Spanish flamenco scene as he found it during a visit to Spain in May of 1999. With 3 photos.
1999
AL#58 p.60 BRB5 p.361
R.E. Brune
▪ Publications on identifying Ramirez guitars by serial number and more info on the 1988 model 1A.
1998
AL#55 p.8 BRB5 p.217
R.E. Brune
▪ The story of this astonishing flamenco guitar involves Barbero, Sabicas, Carlos Montoya, and Elektra records. It dropped from sight until showing up at Brune’s for repair. Brune drew up a complete set of plans while the guitar was in his possession. They are printed here, and are also available as a full-size GAL Plan #42. With 12 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1998
AL#55 p.10 BRB5 p.219
R.E. Brune
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1997
AL#52 p.42 BRB5 p.144
Tim Olsen R.E. Brune
▪ Brune was an original founder of the Guild, has been a GAL convention lecturer, and an American Lutherie author. He’s also a world-renowned maker, dealer, and collector of classical guitars. In this interview he offers some personal background as well as what he thinks it will take to stay afloat in the lutherie world that’s coming. His insider’s view of high-buck instrument dealing is especially compelling. With 7 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#52 p.46 BRB5 p.148
R.E. Brune
▪ What does it take to restore an important instrument? Skill, research, and a solid feel and appreciation for the time during which the piece was made and played. Skip any of these factors and you could easily screw up an irreplaceable piece. Brune describes his approach to one guitar while at the same time demonstrating the qualities necessary to enter this field.
This article has been nominated as one of the Guild’s best articles published before 2010.
1996
AL#45 p.10 BRB4 p.264
R.E. Brune
▪ This 1995 lecture transcription investigates the history of art applied to lutherie in all its varied forms, and then translates many of them into illustrations of contemporary instruments. Topics include painting, gilding, carving, veneer, inlay, engraving, and varnish work. With 49 photos and illustrations.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#40 p.18 BRB4 p.96
R.E. Brune
▪ There is an undying interest in the Segovia guitars. Brune offers good description as well as 10 photos and a complete set of plans. The plans are a reduced version of our full-scale Plan # 38.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#40 p.19 BRB4 p.97
R.E. Brune
▪ A full-scale instrument plan. See the GAL website for a low-rez preview.
1994
AL#38 p.24 BRB4 p.34
R.E. Brune
▪ Brune made a map of plate dimensions using a new (and expensive) gizzy called the Elcometer. Then he decides that plate thickness probably isn’t so big a deal. Well, at least you have a model to guide you.
1994
AL#37 p.5
R.E. Brune
▪ If you attempt to move across international borders any artifact containing wood from a CITES tree (which includes Brazilian rosewood) you may risk confiscation if first you don’t fill out the right forms and pay the proper fees. It’s a slow and expensive process, and Brune’s forecast for the future is even scarier.
1993
AL#34 p.41 BRB3 p.351 ALA3 p.51
R.E. Brune
▪ Is the Met’s Segovia Hauser the famous Hauser? Probably, but maybe not. That such mysteries can remain about the most famous classical guitarist ever is quite heartening.
1993
AL#33 p.14 BRB3 p.280
R.E. Brune
▪ Brune describes a rare 11-string Torres guitar and the manner in which he restored it. With 11 photos and a half-page of drawings. Mentions Romanillos.
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#32 p.25
R.E. Brune
▪ A man who witnessed the very labor pains that preceded the birth of the GAL recaptures the details and makes a dire prophecy.
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#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#30 p.4
R.E. Brune
▪ CITES restrictions on Brazilian rosewood include a ban on the import/export of objects that contain that wood. There are exceptions, however. Brune gives us the lowdown on the original agreement.
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.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.
1990
LT p.114
Steve Andersen Chris Brandt R.E. Brune Ted Davis Jeffrey R. Elliott James Flynn Bob Gleason Hideo Kamimoto Robert Lundberg Frederick C. Lyman Jr. John Monteleone Robert Ruck Richard Schneider Ervin Somogyi Al Stancel Robert Steinegger Janet Toon
▪ Seventeen established luthiers were asked to list ten hand tools, five power tools, and five supplies used as tools. This info was used to determine the most essential tools, including specifics, model and size, source, and any special uses.
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#21 p.36 BRB2 p.352
Robert Lundberg R.E. Brune
▪ Lundberg says that perhaps he’s tracked down Marie’s own luthier. Brune examines the evidence and decides he’s not prepared to jump on board. With 3 fine photos.
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.
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#13 p.6 BRB2 p.2
R.E. Brune
▪ Brune’s anecdotes help close the gap between the man and the legend.
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.
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#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.
1981
GALQ Vol.9#3 p.8
R.E. Brune
▪ From June 22 to June 27 summer 1981, the Guitar Society of Toronto presented Guitar 81, its third international guitar festival. We received these 4 reports from GAL members in attendance.
1981
GALQ Vol.9#4 p.10 BRB1 p.48 read this article
R.E. Brune George Gruhn Steve Klein Max Krimmel Robert Lundberg
▪ The economic atmosphere surrounding lutherie has changed a lot since this 1980 panel discussion, but tapping into the lutherie boom is no easier than it ever was. Max Krimmel followed his genius out of guitarmaking many years ago, but the rest of these gentlemen are still active, and their longevity suggests that they knew what they were talking about so long ago. Panel discussions aren’t often as much fun as this one.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1980
GALQ Vol.8#1 p.12
R.E. Brune
▪ From his 1979 convention lecture.
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.
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.
1975
DS#8
R.E. Brune
▪ An elaboration on the French polish portion of the finishes data sheet, by popular demand.
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#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.
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.
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
GALNL Vol.2#1 p.8
James Arial Barry Murphy R.E. Brune
▪
1974
GALNL Vol.2#2 p.6
R.E. Brune
▪
1974
GALNL Vol.2#3 p.4
R.E. Brune
▪