Posted on July 31, 2026July 31, 2026 by Dale Phillips Effects of Grain Orientation on Brace Deflection Effects of Grain Orientation on Brace Deflection by Greg Nelson with Benjamin Nelson Originally published in American Lutherie #127, 2016 I have always taken it on faith that perfectly quartersawn wood had to be superior to diagonal- or plain-cut wood when it comes to bracing. I never felt the need to question this common wisdom until when reading The Responsive Guitar, I discovered that Ervin Somogyi had done a test that created doubt about how accurate this assumption might be. He invited further testing, and that is what inspired me to spend some time and material to check things out. I come to lutherie work without any formal scientific training. This sort of testing demands a scientific method, so I invited my son, Dr. Benjamin Nelson, to participate. His field of expertise is astronomy (mostly extrasolar planets), but having grown up in our house, he is not unfamiliar with wooden instrument construction. 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. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on April 17, 2026April 17, 2026 by Dale Phillips Restoring Tárrega’s 1888 Torres Restoring Tárrega’s 1888 Torres by Jeffrey R. Elliott from his 2004 GAL Convention lecture Originally published in American Lutherie #83, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 It was a privilege and an honor to restore this 1888 Antonio de Torres classical guitar, which is the centerpiece of a wonderful collection owned by Sheldon Urlik of Los Angeles, California. Identified as SE 114 in Antonio de Torres Guitar Maker — His Life and Work by José Romanillos, this guitar has great historical significance, not only because it was made by Antonio de Torres, but because it was owned by the great guitarist, composer, and pedagogue Francisco Tárrega. Before I began any work, I consulted with luthier and historian José L. Romanillos of Guijosa, Spain, for his expertise on Torres guitars and also reread his comprehensive book, which is the primary source of the historical information that follows. In addition, I consulted with luthier John F. Mello of Berkeley, California, for his restoration experience on Torres guitars and both previous owner Elias Barreiro of New Orleans, Louisiana, and the present owner Sheldon Urlik for their knowledge of the history of this guitar. 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. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on February 20, 2026February 20, 2026 by Dale Phillips Torres Guitar Restoration Torres Guitar Restoration by R.E. Bruné Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie, Volume Three, 2004 In March of 1986 I received in my workshop an 11-string guitar by Antonio Torres made in Almeria in 1884, and numbered #71. This instrument being perhaps unique in the world today for Torres’ work, it was imperative that it be adequately documented and ideally, restored as close as possible to original playing condition. The owner was quite anxious to pursue this course also, with the ultimate goal of selling it on the open market. Surviving guitars by Torres are quite rare, being limited to fewer than seventy known instruments, and this example is perhaps the only 11-string example remaining, although Prat alludes to two others in his Diccionario under the listing for Torres. It is not clear whether he is referring to the same instrument owned by several different people or different instruments owned by different people. Although Torres numbered his instruments made from 1880 until he died in 1892, apparently there is no surviving record of the details of each instrument nor who the original owners were. (Editor’s Note: After this article was written, José Romanillos published his excellent book, Antonio de Torres, Guitar Maker — His Life and Work. In it he presents photos, drawings, and descriptions of another surviving Torres 11-string, #83. Author Bruné urges all to acquire and study this book.) 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 15, 2026January 15, 2026 by Dale Phillips Chalk-fitting Guitar Braces Chalk-fitting Guitar Braces by Stephen Marchione from his 2017 GAL Convention workshop Originally published in American Lutherie #140, 2020 First, have a plan. Know what you’re making. It seems like an obvious thing, but sometimes people start a guitar without a good idea of what the brace layout will be. When I design a new model, I’ll often get a piece of aluminum flashing and lay out a bracing template. If you’re building an historical model, you can transfer the blueprint to a template of aluminum or plexiglas. This gives you a clear idea of what your braces are supposed to be doing, and it lets you be sure that the braces end up where they were designed to go. Photo 1 is a closeup of one of my bracing templates. I use the little holes to make pencil marks on the soundboard. On a classical guitar, a lot of builders push the big harmonic bars down into the solera, or dished workboard. But that can cause distortion of the top. Even on a Spanish guitar, I take the time to chalk-fit the brace. That gives a better structure with less stress. I highly recommend it. 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. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on April 23, 2025June 20, 2025 by Dale Phillips Meet the Maker: Robert Ruck Meet the Maker: Robert Ruck by Jonathon Peterson Originally published in American Lutherie #93, 2008 Robert Ruck was one of the very first members of the Guild, and one of a handful of luthiers who attended our first convention in 1974. His passion for the music and culture of the guitar, his respect for its history, his hard work and dedication, and his prolific output have put him at the very top of his craft. I met him at our 1992 convention in South Dakota, where he spoke in detail about his building methods at that time (see AL#42 and BRBAL4). Fourteen years later, during the 2006 GAL Convention, we sat down over dinner and had this talk. Before we get to guitar making, I want to find out what influences first turned you to the light side, the creative side. As far as being exposed to anything artistic, my dad had a major influence in my life for sure. 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. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
