Classical Guitars 2

Classical Guitars 2: An American Lutherie Anthology


Classical Guitars 2, the fifth book in our American Lutherie Anthology series. It’s a full-color, soft cover, 100-page book with articles selected from the 1985-2011 issues of American Lutherie on the topic of classical guitars. Unlike the original issues of AL, this book is printed in full color.

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In the Ramírez Workshop

by William Tapia

Making the Ramírez Guitar Nut

by William Tapia

Bars and Struts

by José Ramírez III

Three articles relating to the guitars and ideas of José Ramírez III. William Tapia visits the Ramírez workshop in the 1980s, meets the makers, and gives a detailed description of the precise specs of the nut design used on these famous instruments. Then José himself muses on why things work and how they should be.

An Interview with H.E. Huttig II

by R.E. Bruné

The Mystery of “La Inedita”

by R.E. Bruné

Echoes of H.E. Huttig

by Todd Taggart, Tim Olsen, H.E. Huttig, and Tom Peterson

Here’s three article relating to the adventures and influence of Hart Huttig. His pioneering work as a lutherie wood importer and his encouragement of young guitar makers in the 1960s helped to launch the American Lutherie Boom. And his open, enthusiastic, and spirited character helped to shape the culture of the GAL.

Meet the Maker: Richard Schneider

by Jonathon Peterson

Richard Schneider was a well known and highly influential lutherie teacher. Here’s the story of how he found his own teacher, Juan Pimentel, in the 1950s.

A Day on Lost Mountain

by Jonathon Peterson

Richard Schneider had a long collaboration with iconoclastic guitar design theorist Michael Kasha. This update from 1991 describes their latest work.

A Timely Top Replacement

by Jeffrey R. Elliott

Jeff Elliott puts a new soundboard of his own design onto a high-quality handmade classical guitar which had lost its top to an accident.

Building with the Spanish Solera

from his 2004 GAL Convention workshop

by Eugene Clark

Eugene Clark explains his way of building a classical guitar face down on a workboard which, while dished in the lower bout, is otherwise flat, with zero neck pitch. His researches have convinced him that this is the authentic method of the golden period. He also puts forward some ideas about how local standard units of measure in those days influenced the design of the classical guitar. A letter from Gerhard Oldiges questions some of those ideas.

Letter to the Editor: Spanish Pulgada

by Gerhard J. Oldiges

Restoring an 1869 Francisco González Guitar

by Don Pilarz

GAL Instrument Plan #62: 1869 Francisco González Classic Guitar (Sarpero)

by Don Pilarz

About a hundred and fifty years ago, González was pushing the structural and esthetic envelope of the developing classical guitar. Author Don Pilarz goes step-by-step through a complicated restoration and presents a detailed blueprint.

Meet Nicolò Alessi

by Federico Sheppard

Alessi is a one-man operation custom-making gorgeous tuning gears for the finest Classical guitars and restorations.

Fighting with Wolves

by Alastair Fordyce

Use a blob of modeling clay to improve the sound of a classical guitar.

Historical Influences in a Modern Guitar Design

from his 2006 GAL Convention lecture

by Gary Southwell

Southwell goes back to the pre-classical roots of the guitar to find inspiration for his decidedly modern designs.

Crafting Marie’s Guitar

by Christian Steinert

Owning and Playing the “Marie Antoinette” Guitar

by Kent LaRue

Steinert builds an instrument from our GAL Plan #27, a Baroque guitar from about 1650 by an unknown maker. It’s a complex and challenging project, involving a vaulted back, multi-rib sides, and elaborate decoration. We show the process step-by-step. La Rue is a musician who performs early music with authentic instruments and costume. He gives his thoughts on playing this fine guitar.

From Trash to Treasure: The Restoration of a Spanish Factory-Made Guitar, circa 1900

by Tobias Braun

For every great guitar ever made by an old master luthier, there were thousand of inexpensive, playable guitars made in mass-production environments. Otherwise, there would have been no players worthy to use the master-quality instruments. Tobias Braun restores a pretty-good century-old instrument and learns a lot about the music business of those days.

Meet the Maker: Mónica Esparza

by Kathy Wingert

Summers in Sigüenza with José

by Mónica Esparza

For several years, Mónica Esparza attended two-week summer seminars in Spain with the late José Romanillos, making classical guitars and an authentic vihuela. She learned a lot about lutherie, and learned to love Spain.