Posted on March 1, 2025March 3, 2025 by Dale Phillips Vintage Restoration: Playability and Collectability Vintage Restoration: Playability and Collectability by Joe Konkoly from his 2011 GAL Convention lecture Originally published in American Lutherie #111, 2012 Repair is the term I use for fixing what is broken. It also involves making the instrument playable, although with some older instruments it is not always advisable to try to achieve the level of playability that a modern instrument can deliver. There is often an emphasis to stay within the customer’s budget when doing repair work, and it may not be possible to do everything the instrument deserves. In that case you need to consider making the work reversible. Reversibility in repair work is also important for maintaining collectability. Modification means making improvements by changing the present situation. It can include adding features, upgrading parts, modernizing an instrument, or giving a modern instrument the look and feel of an older instrument. The original intent of the maker, as opposed to just the originality of the instrument, is important to consider when making changes to the instrument. And again, make it reversible. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on March 1, 2025March 3, 2025 by Dale Phillips Inside the Elderly Repair Shop Inside the Elderly Repair Shop by Roger Alan Skipper with Joe Konkoly Originally published in American Lutherie #108, 2011 With eight repair guys in Elderly’s main shop, and three more working on setup, Joe Konkoly’s job as repair shop manager is both challenging and rewarding. The setup department handles new instruments and also helps coordinate the used instrument evaluations with the appraisal department. Every instrument that comes through the store, including new instruments and those at Elderly’s on consignment, visits the repair shop for inspection and setup. The main shop handles customer repairs in addition to all restoration and customization: neck resets, refretting, bridge work on acoustic guitars, electronics customization and repair and, finish work, and lots of banjo and mandolin repairs. Elderly’s wide variety of customers come with an equally diverse array of needs. While some are working in the studio, others simply want to sell a guitar for badly needed cash. Joe says that it’s tough to meet all those expectations, but it’s equally rewarding to meet them and make someone happy. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 13, 2025January 27, 2025 by Dale Phillips Castles in Spain Castles in Spain Making a Classical Guitar with José Romanillos by Stephen Frith Originally published in American Lutherie #72, 2002 and Big Red Book of American Lutherie Volume Six, 2013 José and Liam Romanillos, with the help of Gerhard Oldiges, Tobias Braun, and Big Pep Milos, have shared their methods and ideas openly at a two-week guitar making master class each of the past two summers. I was lucky to be able to attend both sessions, held in the monastery of the Hermanos Maristas in Sigüenza, a medieval town in Spanish Castile. I couldn’t write down all that is available for the student at Sigüenza, but I will try to describe particularly the top-arching system. I used it in my own workshop for a year, then went back to find a few more pieces of the puzzle. Imagine a flat top of European spruce about 2.5MM thick cut exactly with the long-grain fibers, and exactly quartered all across. This guitar top is cut so that it fits within the ribs, and is then adjusted to the flexibility required. The edges of the lower bout are thinned further again to a flexibility all of which reflects the description of the work of Torres in José’s book Antonio de Torres Guitar Maker — His Life & Work. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 13, 2025January 27, 2025 by Dale Phillips Is “Guitar Design” an Oxymoron? Is “Guitar Design” an Oxymoron? by Steve Klein from his 2001 GAL Convention lecture Originally published in American Lutherie #76, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Webster’s defines “oxymoron” as “a figure of speech in which opposites or contradictory ideas or terms are combined, e.g., sweet sorrow” and my personal favorite, “thunderous silence.” The second definition of “design” is “being able to make original plans.” When Todd Brotherton called to ask if I would speak here today, he mentioned that I’ve been doing my design thing for near on thirty years. And almost in the same breath, he called my ideas new and innovative. What’s wrong with this picture? Palm pilots are new. Downloading MP3s is new. Viagra is new. My ideas are no longer new. So why are the things that I’m trying to do still thought of as new? Or we might ask, why is the musical world so slow to change, when everything else in our culture seems to be on the fast track? Why might it take so long for acoustic guitars to evolve? This begs some questions, such as: Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 13, 2025January 27, 2025 by Dale Phillips Meet the Maker: John Kitakis Meet the Maker: John Kitakis by John Calkin Originally published in American Lutherie #67, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Those who didn’t make it to the 2001 GAL Convention, or have been otherwise holed up in their shops, may not even be aware that we’re in the middle of a rebirth of the ukulele. There are more uke manufacturers than at any time in recent memory, and a growing number of independent builders have surfaced to satisfy the high-end market. The shop of John Kitakis, Ko’olau Guitars and Ukuleles, is a family enterprise that began with guitars but found that the real market was in ukes. His story is a good one, and you’ll be glad you met him here. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
