Posted on July 8, 2022May 12, 2025 by Dale Phillips Meet the Maker: Guy Rabut Meet the Maker: Guy Rabut by Tim Olsen Originally published in American Lutherie #32, 1992 and Big Red Book of American Lutherie Volume Three, 2004 On a recent trip to New York, I had the good fortune to visit Guy Rabut in his uptown Manhattan apartment above a small grocery store. We sat in his tiny shop, which was piled high with cardboard boxes in anticipation of Guy’s imminent move into a freshly renovated space in Carnegie Hall. He made the move in October, and now shares this classy address with two violin dealers, Charles Rudig and Fred Oster, and Michael Yeats, a bow maker. Artifacts of wide-ranging artistic sensitivities surrounded us, including Northwest coastal Indian carvings which Guy made during a summer seminar with renowned artist Bill Reed; his intriguing logo in which the proper curves of a violin appear in a cubist jumble; a glass case holding a few of his beautiful finished fiddles; and a pine mock-up of a banjo he plans to build someday. Guy Rabut is one of the Guild’s most faithful members. The May ’74 issue of the GAL Newsletter listed him as a new member, and he hasn’t missed a day since. He is also a member of the American Federation of Violin and Bow Makers. 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 July 1, 2022May 19, 2025 by Dale Phillips Let’s Get Busy Let’s Get Busy Chris Brandt Says You Can’t Succeed in Business Without Really Trying by Jonathon Peterson Originally published in American Lutherie #26, 1991 and Big Red Book of American Lutherie Volume Three, 2004 When he was eleven, Chris Brandt converted a $13 guitar into a 12-string by installing autoharp pins. He now owns a successful repair shop in the Portland area. I visited him there to find out how he makes it work. Chris, you have almost always worked with other luthiers, either as an employee, in a cooperative shop, or as an employer of several repairmen. You seem to prefer working with others. Why is that? There are a lot of benefits to working in a shop with other repairmen. It’s a rich learning situation. You are exposed to so many more instruments. It enables you to specialize more, and conversely, to not specialize where you don’t need to. There are a lot of jobs which I don’t do anymore simply because I don’t need to and they’re not my preferred jobs. 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 May 6, 2021May 19, 2025 by Dale Phillips Accident Prevention: A Case History Accident Prevention: A Case History by Jeffrey R. Elliott Originally published in American Lutherie #14, 1988 Aa a luthier who has repaired several thousand guitars over the past 20 years, I have developed a growing obsession over guitar care and safety. Much of this is due to my realization that nearly half those repairs may not have been necessary had they been properly handled. Significantly, they were often not in their owner’s possession at the time of “the accident”. In such a case a few years ago, the culprits appeared to have been the baggage handlers of several airlines during a rigorous two month international tour. The owner took all the proper precautions before and after each flight, and the guitar was in an expensive custom case made especially to accommodate its shape and dimensions. So I was upset, but not surprised, when I learned of the first incident, as airline handling of instruments remains notoriously poor. However, upon learning of three more identical mishaps, I became increasingly concerned for the instrument. 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 December 28, 2020May 20, 2025 by Dale Phillips The Well-Unpublished Luthier The Well-Unpublished Luthier by William R. Cumpiano Originally published in American Lutherie #6, 1986 and Big Red Book of American Lutherie, Volume One, 2000 Gather around and listen to a strange tale; a saga of oppression and self-imprisonment and of unending, grueling effort; of frustrated expectations and missed opportunities. But it is a sad story with a happy ending. My story begins ten years ago when I, a budding young luthier, hired a booth in a large Northeastern crafts fair. It was the dawn of my career: I was green and I was anxious and I could not have known then that craft fairs are worthwhile for makers of multiples, such as ceramic pots and leather bags, but a waste of time for guitar makers. But I had to learn that for myself. Think of the exposure, I was told. Just think of the exposure... Yes, I was to learn. There I stood, an innocent with a hopeful smile on my face, my shiny wares hanging on a makeshift masonite wall behind me, each one of my little babies stamped with the mute evidence of all the care, sacrifice, and painful experience that had brought them into the world. “Wow!” a voice in the crowd exclaimed, “what are you asking for one of those?” Haltingly, I responded, a little tongue-tied: “Sev... six... five... five hundred and fifty dollars.” 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 6, 2020May 12, 2025 by Dale Phillips Meet the Maker: Bart Reiter Meet the Maker: Bart Reiter by Paul Hostetter previously published in American Lutherie #34, 1993 and Big Red Book of American, Volume Three, 2004 As a card-carrying guitar nut, guitar player, and luthier, I’ve always felt a bit like a turncoat because of my jaundiced view that our current vibrant lutherie world is somewhat top heavy with guitar nuts. It’s one reason I like the GAL so much: there are all these wild cards who have a very nonflattop agenda. I love it! But it seems that every time I go to a Guild convention someone I really want to meet doesn’t show up for some reason. It happened again last summer, though I knew I’d find dozens of other surprises amongst the corn fields and bomb threats ‘way over there in Vermillion. Among them were two of the very top figures in the world of banjo, Bart Reiter and Ron Chacey. Dan Erlewine issued me a blank cassette and commanded: “Go forth and interview!” Dutifully, and happily, I did. I’d always wanted to meet these guys anyway. Here’s the first one I talked to. 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.
