2023
AL#150 p.62
Birck Cox
▪ The late Robert Lundberg is legendary as a lute maker and educator, but Birck Cox knew him before all that, back when Lundberg was working on fiberglass race cars. They met while unloading a moving van and were friends for many years.
2022
AL#146 p.34
January Williams
▪ Here’s a quick review of how the slack-key guitar got to be a thing. See GAL Plan #81
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.
2011
AL#106 p.35
Michael Yeats
▪ Yeats developed these intricate inlay patterns for veneered lute necks and peg boxes while assisting Robert Lundberg. From a conversation by Jonathon Peterson.
2010
AL#101 p.56 read this article
Ben Cohen
▪ An amateur luthier and lutenist designs a travel-friendly lute using a banjo approach.
2008
AL#95 p.18 read this article
R.M. Mottola Peter Kyvelos
▪ The oud is the Arabic ancestor of the lute, as well as being a popular contemporary instrument in many parts of the world. Part One of this two-part series was printed in AL#94. This part concerns the construction of the soundboard and neck of the instrument. With 33 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2008
AL#94 p.8 read this article
R.M. Mottola Peter Kyvelos
▪ The oud, of course, is the Arabic ancestor of the lute, as well as being a popular contemporary instrument in many parts of the world. Kyvelos has been building them since 1970. The story offers a bit of background on the oud, a few of its recent historical builders, and Kyvelos himself, though most emphasis is placed upon the construction of the instrument. This part mostly concerns the construction of the bowl of the instrument. With 33 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2006
AL#88 p.62 read this article
Alain Bieber
▪ The reviewer heartily recommends this catalog of lutes and theorbos in the musical instrument museum of Paris.
2005
AL#82 p.26 BRB7 p.312
Jonathon Peterson Charles Beare
▪ Beare is the captain of a violin restoration firm, a competition judge, and a man thoroughly versed in the intricacies of vintage violins. He has known all the experts of his life time, and he has formulated many strong opinions about old fiddles and the various fields that use them to do business. You’ll find him interesting even if you aren’t a violin person. With 9 photos.
2004
AL#80 p.4 BRB7 p.228
Ervin Somogyi
▪ The author not only explains how the traditional lute rose is carved, but demonstrates how the technique might be used other than as a rosette. With 17 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2003
AL#73 p.60 BRB7 p.522 read this article
Bryan Johanson
▪ The reviewer pronounces this book to be “a massive achievement to which the reader can return again and again for information, insights, and pleasure.” A pretty good indication that he found it useful and valuable.
2002
HLC p.ix
Jonathon Peterson
▪ Historical Lute Construction was published after the decease of its author Robert Lundberg. Preface also addresses issues of the Venetian inch and the rearrangment of some of the magazine article material when organizing the book.
2002
HLC p.xi
Douglas Alton Smith
▪ A quick backgrounder on the history of the lute.
2002
HLC p.245
Robert Lundberg
▪ A list of ancient lute makers giving their dates and locations. Aslo some thoughts on the inconsistant spellings of some names.
2002
HLC p.249
Robert Lundberg
▪ A listing of over 300 ancient lutes personally observed and measured by Lundberg. Listed by museum collection. Also mentions their condition.
2002
HLC p.261
Robert Lundberg
▪ A listing of the many information sources used by Lundberg in the preparation of his lute-making course.
2002
AL#69 p.36
Andrew Atkinson
▪ The author’s focus is on recreating a lute maker’s shop, circa the late 16th century. Old paintings provide some of his most valuable research materials. He is not only interested in old tools, but in the old ways of making those tools. With 2 photos.
2001
AL#66 p.5 BRB6 p.165 read this article
Jonathon Peterson Jean Gilman Lora Lundberg Schultz Dorothy Bones Ben Lundberg Michael Yeats Gunter Mark Cyndy Burton Jeffrey R. Elliott
▪ Lundberg was perhaps the foremost lute maker in America, a champion of building lutes in an historical manner, a longtime member and supporter of the GAL, and author of the landmark book Historical Lute Construction. Family and friends take a deep look at the significance of his life and work. With 10 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2000
AL#63 p.40 BRB6 p.130
Gordon Gray Clive Titmuss
▪ Titmuss is a Canadian who builds and performs upon the lute. He’s also a lute historian and a musicologist. It takes an interesting person to make a mostly-forgotten piece of the past come alive, which is what Titmuss does. With 8 photos.
1995
AL#43 p.54 BRB4 p.81
Robert Lundberg
▪ The rebate plane used for fitting lute ribs and the modifications necessary to make the Lie-Nielson scraper plane fully functional.
1994
AL#40 p.7
Chris Burt
▪
1994
AL#40 p.53
Cyndy Burton
▪ A very selective list of American and world lute makers.
1994
AL#39 p.60 read this article
Robert Lundberg
▪ Where to get lute strings.
1994
AL#38 p.8 HLC p.226
Robert Lundberg
▪ Lundberg makes the nut, ties on the frets, and strings up the lute. With a string tension formula and an explanation of the rule of 18 for locating frets. Contains 33 step-by-step photos, and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1994
AL#37 p.32 HLC p.218
Robert Lundberg
▪ Lundberg cleans, scrapes, waxes, and oils the various parts of the lute that will not receive shellac finishing. With 29 step-by-step photos, detailed captions, and two recipes for lute wax. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1993
AL#36 p.16 BRB3 p.396
Ervin Somogyi
▪ Somogyi delves into many of the technical considerations of guitar design and construction. With a large number of drawings.
1993
AL#36 p.32 HLC p.210
Robert Lundberg
▪ Lundberg explains how to fit the many pegs of graduating length and diameter. With 26 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1993
AL#35 p.34 HLC p.196
Robert Lundberg
▪ The bowl is finished with shellac and rubbed out. With 38 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1992
AL#32 p.4 BRB3 p.238 read this article
Ken Sribnick Gayle Miller
▪ A one-of-a-kind, almost fabled instrument.
1992
AL#32 p.6 BRB3 p.240 read this article
Ken Sribnick Gayle Miller
▪ The lute photographers relate a wonderful anecdote about their pilgrimage to the London shop of Charles Beare to shoot the unicorn, er, no, the great white lute. With 3 more photos.
1992
AL#32 p.7 BRB3 p.241 read this article
Robert Lundberg
▪ It seems that there is real doubt about the authenticity of this very same lute. American Lutherie’s lute meister looks at the photos and thinks, “Hmm, maybe it is real.” With one more photo of Moby Lute.
1992
AL#31 p.46 HLC p.206
Robert Lundberg
▪ The pegbox is attached to the neck. With 16 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1992
AL#31 p.50 HLC p.190
Robert Lundberg
▪ Lundberg makes the pegs with a tiny machinist’s lathe. With 25 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1992
AL#30 p.28 HLC p.178
Robert Lundberg
▪ Making and veneering the tapered pegbox. With 50 step-by-step photos and detailed captions.photos. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1992
AL#29 p.10 HLC p.162
Robert Lundberg
▪ The points are inlaid into the top, and the fingerboard is attached to the neck. The process is shown for both veneered necks and plain necks. With 40 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction. This article is listed twice due to differences between the magazine series and the final form of the book.
1992
AL#29 p.15 HLC p.172
Robert Lundberg
▪ The half binding is made and let into the soundboard edge. With 24 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1991
AL#28 p.8 HLC p.156
Robert Lundberg
▪ The top is glued to the bowl and trimmed. With 19 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1991
AL#28 p.15 HLC p.162
Robert Lundberg
▪ The points are inlaid into the top, and the fingerboard is attached to the neck. The process is shown for both veneered necks and plain necks. With 40 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1991
AL#26 p.14 BRB3 p.46
Dan Erlewine Herb David
▪ It’s tough to be in business and stay successful. It’s really tough to stay in business and keep having fun, too. Herb David tells how he runs his business, builds a few instruments, stays in shape, has fun. Here’s the last line of his personal prayer: “Deliver me from temptation but keep me in touch.” You gotta love the guy. Mentions Sam Varjebedian and Terry Horvath.
1990
AL#24 p.40 HLC p.142
Robert Lundberg
▪ The neck blank has already been fitted to the bowl. Now it is shaped, veneered, and attached. With 49 photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1990
AL#23 p.42 HLC p.130
Robert Lundberg
▪ In this segment Lundberg prepares the bowl for removal from the mold, fits the neck and the countercap, reinforces the ribs, and fits the belly to the bowl. Contains 22 step-by-step photos and captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1990
AL#23 p.48 HLC p.136
Robert Lundberg
▪ Fitting the many brace ends to the sides of the bowl and ensuring that the subtle topography of the soundboard will be right.With 21 photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1990
AL#22 p.18
John Larsen
▪ Larsen built his first guitar in 1950. His article describes the difficult road folks had to follow before the Information Age engulfed lutherie.
1990
AL#22 p.20 HLC p.122
Robert Lundberg
▪ In this episode Lundberg tunes the belly, or top, of the lute. The belly is already braced and the bridge is glued to it, but it is not yet attached to the bowl. Contains 21 photos, 3 diagrams, and detailed text. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1990
AL#21 p.16 HLC p.110
Robert Lundberg
▪ Lundberg makes the bridge and glues it to the braced top. Contains 49 step-by-step photos and detailed captions, plus 7 diagrams. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1989
AL#20 p.40 HLC p.94
Robert Lundberg
▪ Lundberg makes a complete lute top including carving the rose and bracing the soundboard. Contains 57 photos and 6 diagrams with detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1989
AL#20 p.56 BRB2 p.500
James Flynn
▪ The reviewer bubbles with enthusiasm for this book.
1989
AL#19 p.6 HLC p.80
Robert Lundberg
▪ Construction of the lute bowl. Detailed captions to 57 step-by-step, how-to photos. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1989
AL#17 p.55
Eric Sahlin
▪ Price ranges for handmade lutes.
1989
AL#17 p.51 HLC p.244
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1988
AL#15 p.56 BRB2 p.100
Joseph R. Johnson
▪ Johnson offers a brief note about the Witten-Rawlins collection that was recently acquired by the Shrine to Music Museum. With photos and a museum checklist.
1988
AL#16 p.24 HLC p.76
Robert Lundberg
▪ The lute theory is over and the chips begin to fly. The series begins with the construction of the form on which the bowl will be assembled. 14 photos with detailed captions.
1988
AL#14 p.22 HLC p.30
Robert Lundberg
▪ This portion of the series deals with the soundboard, or belly, of the lute, including the braces and rosette. Many drawings illustrate the shape and thickness of historical lute tops. Beautiful drawings accompany the photos of astonishing rosettes (the drawings are not patterns of the photos). Where did those old guys find the patience? This is the third of 19 installments.
1988
AL#14 p.42 HLC p.241
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1988
AL#14 p.44 HLC p.242
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1988
AL#15 p.6 HLC p.48
Robert Lundberg
▪ This segment covers the bridge, neck, fingerboard, pegbox, and pegs of the lute. With photos and a number of drawings. This series is comprised of 19 installments.
1988
AL#15 p.28 HLC p.243
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1988
AL#13 p.24 HLC p.18
Robert Lundberg
▪ This portion of the series has to do with the shape of the lute body, or bowl. It includes 21 photos of historical models and numerous drawings and label signatures. This series includes 19 segments.
1988
AL#13 p.37 HLC p.239
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1988
AL#13 p.38 HLC p.240
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1987
AL#12 p.30 HLC p.xiii
Tim Olsen Robert Lundberg
▪ Did people of a given time and place think and respond differently than we do? Lundberg thinks so. He has learned to think like an ancient luthier by studying their work, and has therefore made a connection to a neglected tradition and society. It shows in his work and his speech, and apparently, in his life.
This article has been nominated as one of the Guild’s best articles published before 2010.
1987
AL#12 p.32 HLC p.2
Robert Lundberg
▪ The first of 19 articles in our lute construction series, Lundberg traces the history of the lute family and construction.
1987
AL#12 p.48 HLC p.238
Robert Lundberg
▪ Lundberg recommends that the uninitiated not try to build an instrument from these plans without first reading the entire series of lectures presented in “Historical Lute Construction.” The plans are more diagramatic than exhaustive, but contain the essential information to construct the instrument.
1987
AL#10 p.56 BRB1 p.414 read this article
Dave Schneider
▪ A dream comes true. Schneider relates his growth toward a successful lutherie career. He begins with a high school shop program, travels through various repair and furniture jobs, apprentices as a lute maker, and ends up self-employed.
1986
AL#5 p.34 BRB1 p.182 read this article
Robert Cooper
▪ Cooper describes his method of making ribs for a “half round” lute, in which all the ribs are the same.
1985
AL#4 p.22 BRB1 p.116 read this article
Robert Cooper
▪ Cooper’s lecture tracks his own development as a lute maker and the instrument’s return to historically accurate models. Mentions Hermann Hauser II, a number of performers, which designs and glues are preferable, how to remove a neck when necessary, and briefly discusses strings.
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.22 read this article
Lawrence D. Brown
▪ Brown comments on trends in lute making toward Baroque instruments, all-gut stringing, larger body sizes, and lower pitches.
1985
AL#2 p.52 BRB1 p.488 read this article
Edward Kottick
▪ The reviewer calls the book a brilliant overview and analysis of all that can be said about the complex issue of temperament on string instruments between 1520 and 1740.
1984
DS#292 LT p.36
Alan Carruth
▪ Diagram gives dimensions to make a lute peg reamer.
1983
DS#247 BRB2 p.394
Lawrence D. Brown
▪ It is perhaps true that a good playing action must be built into the instrument, and that less adjustment can be done to a finished lute than to other instruments. Brown explains lute action adjustment from the perspectives of both the builder and the repairperson. With 9 illustrations.
1982
DS#229 BRB1 p.265 read this article
Lawrence D. Brown
▪ Historically, lute soundboards were left unfinished in order to produce the best sound. However, the raw wood collected dirt at a rate that is unacceptable to contemporary musicians. Brown has found a compromise using lacquer that doesn’t affect the sound production of the instrument.
1982
DS#201 LT p.88
Brian Derber
▪ Bandsaw jig cuts the facets on a neck block to which the ribs of a lute are glued.
1981
DS#176 BRB2 p.260
Lawrence D. Brown
▪ Lute pegs are different than violin pegs and have their own requirements if they are to function properly. Brown gives a thorough explanation.
1980
GALQ Vol.8#1 p.26 BRB2 p.68
Lawrence D. Brown
▪ During the ’70s it was common for guitarmakers to build lute-shaped instruments utilizing the technologies of the guitar, even to the point of designing their own shapes. Brown offers a large number of reasons why this was a mistake and a disservice to the instrument and modern lutenists, citing the many factors of historical lutes that should be retained rather than messed with. It’s interesting to note that in the years following this article the emphasis of lute making returned to following historical guidelines. With 2 photos.
1979
GALQ Vol.7#4 p.10 BRB2 p.68
Lawrence D. Brown
▪ Discussion of lute soundboard, bridge, neck, fingerboard, and frets.
1979
DS#118 LT p.43
Leo Anway
▪ Uses a guitar string and tuner.
1978
GALQ Vol.6#1 p.10 BRB2 p.78
Kent Rayman Aggie Rayman Robert Lundberg
▪ Lundberg is a classic example of a man who couldn’t fit into any of the slots society tried to force him into, yet who went on to become an important individual in his field. Lute players of the world couldn’t be happier about it. With 4 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.