Posted on July 1, 2024July 9, 2024 by Dale Phillips Letter: Fleishman and Fabio Lutherie Class Letter: Fleishman and Fabio Lutherie Class by Mike Moger Originally published in American Lutherie #68, 2001 Tim: I was sanding the top of a classical guitar recently with 600-grit paper. When I thought the job was about done, I walked out into the sunlight, held the instrument up to the light, and looked closely. I wasn’t nearly finished, and was glad for having made the trip. It reminded me of Fabio Ragghianti, the luthier who taught me to take that short walk. And of Harry Fleishman, the man who offered me the opportunity to study under him. I encourage anyone interested in becoming a better luthier to take a class. I’d built furniture for many years, and had wanted to build a guitar, but had no idea how even to begin. Books helped , but the class I took this past June in Boulder, Colorado at the Luthier’s School of the Rockies was invaluable. The school was run by Harry, with thirty years of experience in designing and building guitars. Four students worked under Fabio, an Italian luthier who has been building classical instruments for twenty years. Fabio provided the plans and the primary teaching; we used Harry’s tools. Harry looked over our shoulders and constantly added to the exchange of ideas. The rules were easy. You do your best to build a guitar that is structurally strong, with a great sound, and beautiful. Nothing is done without knowing the reason for doing it. One great benefit was to compare Harry’s modern methods and machinery to Fabio’s methods that have been used in Europe for 200 years. Fabio’s quiet patience allowed for mistakes to be made, followed by lessons on how to correct them. Harry’s energy and enthusiasm filled us with different ways to accomplish the same things. And Fabio’s French polishing demonstration alone was worth all that we’d done before it. They are more than creative and quality-driven professionals. They are great teachers, fun to be with, and willing to give us everything we could soak up during the class. So I built my guitar, and will build many more. And each time I walk out into the sun to look closely at what might be a finished job, I’ll remember the class, and thank two good men for what they gave us. PS: Harry has closed the school in Boulder. He’s now the Director of the Luthiers School International. Harry Fleishman 1533 Welter Ct. Sebastopol, CA 95472-2655 707-823-3537 guitars@fleishmaninstruments.com Fabio Ragghianti lives and works in Italy, and can be reached at raguitars@libero.it. ◆
Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: African Wenge Questions: African Wenge by Jeffrey R. Elliott Originally published in American Lutherie #59, 1999 See also, Questions: Wenge by John Calkin Milan Sabljic of Belgrade, Yugoslavia asks: I would like to know is it safe to use African wenge to make classic guitar bridges. Jeff Elliott of Portland, OR responds: I’ve never tried it, but I don’t see any reason not to. It’s dense, it sounds (taps) well, and it’s beautiful. Also, Gibson used it for steel string guitar bridges in the 1970s. I think it would work very well. ◆
Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: Vihuela Plans Questions: Vihuela Plans by Robert Lundberg Originally published in American Lutherie #60, 1999 Roy Barger of Dayton, TN asks: I’d like to build a vihuela. Trouble is, plans are as rare as hen’s teeth. Do you know where I could obtain a set? Or, someone who owns a representative example of one that would sympathize with my plight enough to assist in the measuring thereof? Bob Lundberg of Portland, Oregon answers: I do not know of any plan you can order. The one extant vihuela in the Jacquemart André Museum in Paris is not typical of most vihuelas built in the 16th century. Raphael Weisman described it in detail for the Galpin Society Journal, Vol. 35 (March 1982) in an article called “The Paris Vihuela Reconstructed.” No plan was made available. ◆ Editior’s note: You’ll find a comprehensive article on the vihuela by John Rollins in AL#10 or The Big Red Book of American Lutherie Volume One, 1985–1987.
Posted on July 1, 2024July 9, 2024 by Dale Phillips Letter: Romanillos Seminar Letter: Romanillos Seminar by Stephen Frith Originally published in American Lutherie #68, 2001 Dear Tim, I joined the GAL a couple years ago, and this philosophy of openness, sharing, and frank exchange is right on the ball. I saw a free ad in American Lutherie: “Master-classes in Spain, make a guitar with José and Liam Romanillos.” A chance of a lifetime? The Romanillos family hosted a fortnight working holiday, which was busy, friendly, happy, and constructive. Set in the Sigüenze hillsides, we were the comfortable guests of the Hermanos Maristas. In the spirit of openness and sharing, José and Liam helped us consider each piece of wood, as we made our guitars. A quote: “If we know, we tell you.” Based on José‘s first successful instrument in the Spanish tradition of Torres, our work was guided with strategies and beliefs. Secrets don’t exist in good news. On the front bench were all the planning forms and construction templates needed to make a Romanillos and Son guitar, and copying of these was firmly encouraged. The method was straightforward, sensible, and uncomplicated, one that can be easily replicated in my own workshop. I’ve brought home my own Frith/Romanillos. Sounds great! Speaking as an old London College of Furniture boy, I have to say the Sigüenza 2001 course was brilliant. The cost was reasonable, and returning next year for some fine-tuning would be exciting for a full-time luthier like me. I hope it runs and runs, there is always more to learn. It was great to meet members from all over: Texas, California, Canada, England, Switzerland, Germany, Belgium, Spain, and Japan. Sigüenza 2002? Go for it! ◆
Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: Custom Rosettes Questions: Custom Rosettes by Rodney Stedall Originally published in American Lutherie #70, 2002 Rodney Stedall of Pretoria, South Africa answers Milan Sabljic’s question regarding having custom rosettes made in small quantities. On a recent trip to Germany I came across a small third-generation rosette factory in Kornwestheim near Stuttgardt. Karl Zeeh, the grandfather of Martin Zeeh (whom I met), started the business many years ago. They manufacture customized rosettes and also supply custom bindings and backstrips. The visit was fascinating and the variety of laminated products is extensive, definitely worth investigating. Karl Zeeh, 70806 Kornwestheim, 49-715-47365; fax 49-715-424340. ◆