Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Scott Chinery Letter: Scott Chinery by Bob Benedetto Originally published in American Lutherie #64, 2000 Dear Tim and Fellow GAL members, My plane just took off from Newark Airport; I’m on my way home to Tampa and thought I would drop you a line. Yesterday I attended the funeral services for Scott Chinery, a man who, in a very big way, touched the lives of so many people. A book can be written (and no doubt will be) on his accomplishments and good deeds. I’ll leave that to the professional and more eloquent writers. Over the years, we have all encountered people who influence and support us, but I can think of no individual who has had such a profound impact on our careers and lives as Scott Chinery. Scott’s Blue Guitar Collection is the most famous guitar collection in the world. It is comprised of archtop guitars made mostly by people who would have otherwise remained in obscurity. Some have probably not made an archtop since and most will never make a living as an archtop maker. Scott Chinery gave us all so much — he put money in our pockets and gave us international acclaim as the finest luthiers in the world. He did for us what none of us could have done for ourselves. Our guitars were on exhibit at the Smithsonian Institution not because of our skills as luthiers, but because Scott Chinery commissioned us, then kicked down the doors and forced the world to take notice — a talent none of us have. He will be missed. ◆
Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Disliking Kasha’s Criticisms Letter: Disliking Kasha’s Criticisms by Jason DuMont Originally published in American Lutherie #64, 2000 Dear Tim/Guild, In Michael Kasha’s letter in AL#62, he took what I consider a jab at Mr. Ramírez, stating that Ramírez’ 1986 article “Bars and Struts” (Big Red Book of American Lutherie, Volume One, p. 292) “show[ed] how far the luthier’s intuition can be from the mechanics of the instrument.” In typical Kasha fashion, he started with his findings that will soon be published, yada yada, yada. I also read an article in Discover magazine in which Mr. Kasha says that “a prominent builder whose design came to him in a dream, will be surprised when our findings show his guitar has no bass.” It was obvious to anyone in the lutherie community that he was talking about Thomas Humphrey’s Millennium guitar. My first instinct was to start bashing the Kasha design, his personality, and the pseudo-science behind his ideas. But it dawned on me that this is a perfect chance for me to contribute to the Guild in a positive way. You see, I’m just an amateur luthier, having built only six guitars. I’ve felt I have nothing of technical worth to offer. I am, however, a professional sales representative for the largest musical wholesaler in the country. I can offer some advice to Mr. Kasha as he tries to “sell” his design theories to other luthiers, players, and instrument brokers. Never, never criticize a competitor’s product. It is so low brow! Even if your comments are true, you come across as a negative person and negativity always repels people. If your product is superior, trust that it will speak for itself and others are smart enough to see it. For example, after reading his comments I plan on using the blueprint of the Kasha guitar that I bought from Luthiers Mercantile as a decorative cover for a computer table that I had accidentally spilled India ink on, rather than giving his ideas a go. My loss? Perhaps. But Mr. Kasha’s rudeness simply turns me off. Incidentally, seeing as how he has commented on Mr. Ramírez’ faulty intuition, I’m compelled to ask how many instruments Mr. Kasha has crafted with his own two hands to develop his superior knowledge of guitar mechanics. Surely tactile input from actually working the wood has had some place in his ground breaking theories, hasn’t it? ◆
Posted on June 30, 2024May 6, 2025 by Dale Phillips Radiation from Lower Guitar Modes Radiation from Lower Guitar Modes by Graham Caldersmith Originally published in American Lutherie #2, 1985 and Big Red Book of American Lutherie, Volume One, 2000 Since 1982 when I attended the Estes Park GAL Convention, and subsequently wrote about “Dissolving the Mysteries”1 (of guitar behavior — perhaps a presumptuous title), as a distant but faithful member of GAL, I have followed the developing discussions in the Quarterly about guitar top and back vibrations, how they are excited by the plucked strings and how they generate sound. At our January 1985 Australian Association of Musical Instrument Makers Convention (featuring strong GAL membership) the geometry of the lower vibrational modes of guitars and their appearance in the guitar frequency response records was keenly debated by practicing guitar makers, amply demonstrating luthiers’ adoption of scientific knowledge as part of their working repertoires. Tom Rossing’s contributions to GALQ2, 3 the thoughtful articles by Paul Wyszkowski4, 5, 6, 7 and the monumental “Kasha Guitar Soundboard”8 by Gila Eban, together with some detailed correspondence to me from Gila on her development of the Kasha soundboard all indicate the integration of guitar physics into guitar evolution. I think such unification of science, art, technology (and good ol’ workbench cunning) is healthy and fosters excellence. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on June 30, 2024May 12, 2025 by Dale Phillips Inside Pacific Rim Tonewoods Inside Pacific Rim Tonewoods by Steve McMinn Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie, Volume Three, 2004 We make wooden components for stringed musical instruments, mostly guitar soundboards. We attempt to be the best in the world at what we do. For the past five years, most of our production has been for large American guitar companies such as Martin and Taylor. In the past couple of years, though, we’ve begun to export much of our wood to Europe and Asia. Recently, we’ve begun to sell tops in small retail quantities and are now putting together a price list. Elizabeth Rozier, who bought, sold, and cataloged rare books for years, is handling the retail end of the business. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on June 30, 2024May 12, 2025 by Dale Phillips The Great White Sitka The Great White Sitka by Jeffrey R. Elliott Originally published in American Lutherie #32, 1992 and Big Red Book of American Lutherie Volume Three, 2004 In February 1992 friend and fellow luthier John Sullivan and I drove from Portland, Oregon to Elma, Washington to pay a hands-on visit to Steve McMinn’s Pacific Rim Tonewoods, Inc. (The business has since relocated in Bellingham, Washington.) We went for the experience. Steve suggested we bring some rugged clothing and a camera. We discovered why when we arrived to the incredible sight of a gigantic Sitka log 26' long by 11' across at the larger end. A great white whale came to mind. The photos tell the story. For the next couple days, my body reminded me I’d had a real workout. But it felt good because it reminded me of what a great time we had and how fortunate we were to have a hand in turning this huge spruce log into top wood. Steve’s whole operation is very well thought out, very organized, and a pleasant place to work. He’s obviously committed to producing high quality instrument woods and nothing is wasted. This experience also gave me an appreciation for how much work goes into producing one top and why “ideal” tops are so rare. ◆ Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
