2023
AL#149 p.46
Robin Connaughton
▪ Lots of materials can work for a flattop guitar bridge saddle. Will they sound different? Connaughton tries several, and collects data with an ingenuously simple plucking technique.
2022
AL#147 p.58
F.A. Jaen
▪ Heres an elegant and sophisticated way to build an adjustable bracket to support the pickguard of an archtop guitar. Most of it is inside the guitar, so it gives a slick, minimal look.
2022
AL#147 p.18
Beau Hannam
▪ In a former lutherie life, Hannam cut saddle slots with a big honkin milling machine. A change of situation led him to design this practical and straightforward router jig to do the job. He gives clear and detailed instructions for building and using it.
2022
AL#147 p.24
Robbie O’Brien
▪ Lutherie uber-pedagog Robbie OBrien has taught beaucoup guitar makers and repair techs to set the action of steel string flattops, so his thoughts on the matter are crystal clear. Here he steps us through the process in a relaxed, logical, and concise presentation. From his 2017 GAL Convention workshop.
2022
AL#147 p.38
Carl-David Hardin
▪ A lot of lutherie work gets done on the road by the techs who travel with bands. Makes sense when you think about it. And its also understandable that this work gets done with a minimum of tooling. Heres a nice example of a new bone nut being made and installed on an old Gibson flattop.
2022
AL#145 p.48
R.M. Mottola
▪ Mottola precisely describes his process for slotting a nut. All the spacing work is done on-screen, then printed out to make a template for the bench work.
2021
AL#144 p.44
Mark French
▪ In this concluding episode of the series, the neck is fretted and the frets are filed and polished. Threaded inserts are installed in the heel and the neck is attached. Finally, the bridge is glued on, the nut is set in position, and the guitar is strung and set up.
2021
AL#143 p.6
Federico Sheppard
▪ It is a story of mystery, dedication, and destiny. The wide-eyed young novitiate is mentored by oracles, sorcerers, and craftsmen until he finds his great quest and pursues it against all odds. To put it more plainly, but no more truthfully, it is the story of Federico Sheppard constructing a copy of FE08, the astonishingly elaborate early opus of the master luthier Antonio Torres Jurado. Mentions Nick Kukich, Ray Jacobs, Shel Urlik, Jose Romanillos, Richard Brune, Robert Ruck, Robert Lundberg, Abel Garcia Lopez, Nicolo Alessi.
2021
AL#142 p.40
Doug Hunt Mark French
▪ Two luthiers dare each other to make a useful guitar for a total investment of $75 each. One makes a flattop, the other a solid body. There are rules, and rules are meant to be broken.
2020
AL#141 p.62
R.M. Mottola
▪ Pickguard outlines are like body shapes; you could copy them, or you could sketch them freehand. Or, if you are serious about it, you could construct them geometrically. Mottola gives us step-by-step instructions for drawing a pickguard to fit any size or shape of guitar to get that authentic traditional look.
2020
AL#141 p.66
Steve Johnson
▪
2020
AL#141 p.67
Carl-David Hardin
▪
2020
AL#140 p.69
Stephen Faulk
▪ Describes mounting tap plates with white glue, and with adhesive Mylar transfer sheet. Mentions David Serva, Diego del Gastor, Paco de Lucia.
2019
AL#138 p.28
John Calkin
▪ Got a used humbucker, a wall stud, some extruded aluminum, and a couple other odds and ends? Make a lap steel guitar! Author John Calkin likes to get right down to business. There’s nothing precious or over-thought here. Minimum tooling, maximum lutherie fun. This is how Leo Fender got his start, ya know.
2019
AL#138 p.54
Harry Fleishman
▪ Harry teams up with the owner of one of his flattop guitars to try some major changes to the bridge and evaluate the results. He reaches conclusions about the relationship between saddle height and bridge beefiness. And speaking og beef, Harry shows how he makes individual tapered saddles out of chopsticks.
2019
AL#138 p.63
Steve Dickerson
▪ Make a cheap and easy nut vise out of two wood scraps and a few inches of masking tape.
2019
AL#137 p.4
Federico Sheppard Todd Cambio
▪ Federico has traveled the world to bring us news of excellent and unusual luthiers and their work. This time he journeyed from Green Bay, Wisconsin all the way to Madison, Wisconsin to meet a guy who keeps his work on the cutting edge of innovation by closely following the century-old work of American guitar factories, and Italian-American luthiers who worked in New York City before WWI. A word to the wise: Tulip poplar is not, and never shall be, banned by CITES or the Lacey Act. Mentions the Acosta family; John D’Angelico; Lydia Mendoza; Lonnie Johnson; Stella; Regal; Oscar Schmidt; Harmony; Lyon & Healy; Lead Belly; Favilla.
2018
AL#133 p.69
Harry Fleishman
▪ More about the Bridge Doctor device.
2017
AL#132 p.69
Aaron Smiley
▪ Do I need to de-grease unbleached bone?
2017
AL#131 p.58
Kjell Croce
▪ Everybody has seen them; those cracks on the tops of old Martins that form just south of the soundhole when the pickguard shrinks. Croce shows us how to close and reinforce the crack, and then make a well-behaved modern pickguard.
2017
AL#131 p.66
Paul Eliasson Orn Eliasson
▪ Relax. The clunky Frankenstein of a nut in this photo is not the design to which the article title refers. The Eliasson design is sleek and compact.
2017
AL#131 p.71
R.M. Mottola
▪ How do I find the best compensation angle compromise for a steel string guitar saddle slot?
2017
AL#132 p.18
Kevin Aram
▪ Kevin Aram has long been one of the very top classical guitar makers in the United Kingdom. Here he takes us through his process of setting the action on a classical guitar and making sure the frets are shipshape and Bristol fashion.
2017
AL#131 p.6
Federico Sheppard Bernhard Kresse
▪ Bernhard Kresse lives and works in his hometown of Cologne, Germany. He’s one of those guitar-making self-starters who was lured away from college by the siren song of lutherie. He has come to specialize in restoration and new construction of Romantic-era guitars, and also makes a “modern” classical guitar based on their advanced features.
2017
AL#129 p.63
Kevin B. Rielly
▪ Simple adjustable jig brings nut and saddle blanks to accurate dimensions in relative ease.
2017
AL#129 p.68
Pete Daigle Reg Beardsley
▪ Make water-slide decals using specially prepared paper and the right brand of color laser printer. Plus a description of how one could make traditional water-slide decals in the old-school way, that is, by silk screening.
2017
AL#130 p.28
Erick Coleman Evan Gluck Eron Harding
▪ Erick, Evan, and Eron called this workshop “Making Bread with Bread-and-Butter Repairs.” Their emphasis was on tools and techniques to help you get a lot of the usual repair jobs done in a short time and at a high level of quality. from their 2014 GAL Convention workshop.
2017
AL#130 p.52
R.M. Mottola
▪ Did ancient folk know what they were doing? Or did they just have the bad luck to be born too soon? This article can’t settle that question definitively, but it does give some new and helpful information for luthiers. Graphs compare the pitch accuracy of fret scales calculated by the 12th-root-of-2 method vs the Rule-of-18 method. Appropriate string length compensation is considered.
2017
AL#129 p.24
James Condino
▪ Condino has developed a clever process by which he can string and play a new mandolin very early in the building process. This makes voicing much more accurate,a nd it reduces the risk of experimental materials and bracing patterns considerably. Must see to believe. Mentions the work of Lloyd Loar at the Gibson company in the 1920s.
2003
AL#76 p.16 BRB7 p.116
Mike Doolin John Greven
▪ This wonderful interview has the kind of depth that only happens when friends talk. It takes familiarity to know what to ask and how to answer. Humor permeates this discussion of alternative woods, business ploys, the Internet, and in general living the life of a successful luthier. Greven has been in the business as long as anyone and is generous with his advice and experience. With 22 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2003
AL#74 p.64 BRB7 p.505
Harry Fleishman
▪ Mr. Harry examines fossil ivory as a material for bridge pins, nuts, and end pins, and finds it exquisite. He also checks out the Stew-Mac Bridgesaver tool and finds it useful on a variety of fronts.
2000
AL#64 p.56 BRB6 p.534 read this article
John Calkin
▪ The reviewer finds this video to be more opinion than explanation, and that the limited amount of information included doesn’t justify its purchase.
2000
AL#64 p.61 BRB6 p.476
Harry Fleishman
▪ Fleishman returns to this column after a long absence, and finds that he has a strong admiration for Hipshot Ultralight Bass Tuners. He also examines the Earvana intonated nut intended for Fender electric guitars and finds that they do improve intonation, though the installation is not a piece of cake. With 3 photos.
2000
AL#62 p.59 BRB6 p.66 read this article
John Calkin Henry Stocek
▪ Stocek began a small business to supply the guitar trade with pickguard stock that resembles pre-war celluloid. He loves old Martins, bluegrass, and “the right look,” and all three have altered his life. With 2 photos.
2000
AL#61 p.14 BRB6 p.68
Robert Painter
▪ How to cut, bevel, and buff a pickguard using celluloid flat stock. With 6 photos.
2000
AL#61 p.17 BRB6 p.10 read this article
Henry Stocek
▪ Stocek loves vintage Martins, and resupplying the world with pre-war style pickguard and binding stock has become his passion. His story is proof that recreating the past can be much harder than simply getting along with the present. It’s also the story of how celluloid is made.
This article has been nominated as one of the Guild’s best articles published before 2010.
1999
AL#58 p.46 BRB5 p.370
Eric Fouilhe
▪ What affect does the tailpiece have on your latest fiddle? Bet you don’t even know! We’ll bet you haven’t even thought about it! The cello is the object of concern here, but is there a large difference? The cello tailpiece has evolved into an inelegant plastic lump, and Fouilhe maintains that it’s often a source of sonic foul play, sort of like a 200-pound jockey on a race horse. He makes his case with 3 photos and 2 drawings.
1999
AL#58 p.6 BRB5 p.262
Jay Hargreaves
▪ The final installment in the series, parts 1 & 2 were in AL#56 and #57, respectively. In this segment the sides are bent, the body is assembled and bound, the neck is fitted to the body, and attention is given to tuning the plates. Special consideration is given to making the adjustable bridges as well as Tom’s elegant ebony/graphite tailpiece. With 36 photos and a drawing.
This article has been nominated as one of the Guild’s best articles published before 2010.
1998
AL#56 p.36 BRB5 p.262
Jay Hargreaves
▪ Ribbecke is a renowned maker of archtop guitars. He also opens his shop periodically to small classes that wish to learn his formula for successful and graceful guitars. Hargreaves attended one such week-long session and brought back the straight skinny for American Lutherie readers. Part 1 details the construction of a laminated maple neck and associated details. Part 2 follows in AL#57. With 29 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1998
AL#56 p.54 BRB5 p.290
Kent Everett
▪ So you hate the way pickguards look but like the job they do? Everett shows how to apply a clear pickguard without bubbles or fingerprints coming along for the ride.
1998
AL#56 p.64 BRB5 p.291
Harrell Sellers
▪ Getting metal tailpieces cast in quantities a small business can afford.
1998
AL#56 p.64 BRB5 p.309
Jeffrey R. Elliott
▪ The variables that influence the ‘feel’ or playability of instruments with the same scale length, string gauge, and setup.
1997
AL#51 p.52 BRB5 p.491
Buzz Vineyard
▪ A laminated all wood tailpiece to gain more control over the dimensions, weight, and aesthetics of the tailpiece.
1995
AL#41 p.48 BRB4 p.429
Harry Fleishman
▪ Fleishman examines the battery-powered Stealth guitar tuners from Sabine, which are meant to be mounted on the guitar. He finds them useful but aesthetically hard to hide on the instrument.
1994
AL#39 p.25 BRB4 p.70
John Calkin
▪ The focus here is electric guitar pickguards, both wood and plastic. Some tips carry over to acoustic pickguards.
1987
AL#10 p.55 BRB1 p.409 read this article
Russ Carlisle
▪ These hammers sport a shaft of bamboo. They can be quickly flipped to offer hard or padded hammer surfaces. Make a set. Throw a dance.
1980
DS#140 BRB2 p.209
Bud Ingraham
▪ Ingraham uses guitar bridge pins to fasten the ends of his dulcimer strings. With a pair of drawings.
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.