Posted on September 11, 2026September 14, 2026 by Dale Phillips Manuel Reyes: Guitarrero Manuel Reyes: Guitarrero by R.E. Brune Originally published in American Lutherie #84, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 Born in 1934 in Jayena, Granada, Manuel Reyes moved with his family to Córdoba in 1944 and began his association with the guitar in 1949. In this same year he begins his personal diary in which he records his lifelong love affair with the instrument. It was through a friend named Señora Carmen Luque that Manuel was introduced to lutherie. She allowed Manuel to borrow a dilapidated guitar in need of restoration which Manuel proposed to study for the purpose of making a copy for his own use and also to have the instrument restored for Sra. Luque. Realizing that perhaps the restoration was more than he had bargained for, Manuel took the guitar to the shop of Miguel Rodríguez in Córdoba, who quoted 250 pesetas for its restoration (about $10 in today’s money). However, Manuel’s father objected, not because of the cost, but because he feared that Manuel would be lured by the siren call of the guitar, and like his grandfather who was also guitarist, spend too many hours away from his family playing the guitar. So Manuel went to friends who were carpenters and prevailed upon them to loan him their tools and supplies in order to try to restore the guitar himself. After six months he was unsatisfied with the results and decided to make a guitar from scratch for himself, which after some time he completed. The same month he finished the guitar, he made the acquaintance of Joaquin Sánchez Galisteo, who had been a student and employee of Miguel Rodríguez the elder; and as Manuel describes this association, Joaquin became his maestro. 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 September 10, 2026September 10, 2026 by Dale Phillips Eight Concerns of Highly Successful Guitar Makers Eight Concerns of Highly Successful Guitar Makers by R.E. Bruné from his 2001 GAL Convention lecture Originally published in American Lutherie #79, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Many of you know a little of my history, but I’ll say a bit more so you’ll understand where I’m coming from and why I will espouse some of the radical ideas that you may hear today. I began playing guitar in the early 1960s when I was just a teenager. I taught myself flamenco, then moved to Mexico City in 1968 and lived there for two years. I played in flamenco troupes for a number of dancers and singers including Roberto de Ronda, Lola Golan, and La Poli. Later I worked with other singers like Pepe Culata and Agujetas (Manuel de los Santos). So I began my career by struggling to make a living as a musician. My attitude toward the instrument was from the standpoint of a player. 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 September 1, 2026September 1, 2026 by Dale Phillips It Worked for Me: Classical Guitar Peghead It Worked for Me: Classical Guitar Peghead by George A. Smith Originally published in American Lutherie #86, 2006 To shape the end of a classical guitar peghead, a router can be used with a simple template which is screwed into the areas where the tuning-machine slots will be. But I prefer a system which gives better support so that there is less of a chance of the router wobbling and making errors. My peghead-shaping jig is made of 1/2˝ Baltic birch plywood, is larger than the guitar’s head, and uses interchangeable 1/4˝ thick templates. Before routing, the peghead’s centerline, dimensions, and side taper are established, and the end shape is traced onto the head. The neck is left rough to facilitate clamping. The shape is then bandsawn about 1.5MM outside the traced line. The jig is centered on the head and secured with two screws where the slots will be. I use a 3/8˝×2 1/4˝ long pattern bit #102-0632B from Eagle America. The bit’s bearing should run low on the pattern. Lower bit into the open area of jig and hold the router fast while turning it on. Rout the design, return the bit to the open area, and turn off the router. Do not remove the router until the bit has stopped turning. 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 August 28, 2026August 28, 2026 by Dale Phillips Meet the Maker: Kevin Aram Meet the Maker: Kevin Aram by Cyndy Burton Originally published in American Lutherie #104, 2010 In May of 2010, Jeff Elliott and I celebrated thirty years together in life and lutherie by traveling to England. The trip was conceived twenty years ago after the 1990 GAL Convention, when husband and wife Kevin and Alison Aram visited us following the convention where Kevin gave a comprehensive lecture on Julian Bream’s 1973 José Romanillos guitar. He presented not only the plan of that landmark guitar, but the fascinating story surrounding it in AL#25 (BRBAL3). Kevin and Alison had long ago given up that we’d ever make it across the pond, but we did (on luthier time!), and they graciously welcomed us into their home. They live on a very old farm in north Devonshire in a substantial stucco-faced stone building that once housed dairy cows. They are surrounded by stunningly beautiful rolling countryside and the sounds of sheep and cows in the neighboring pastures and their own hens clucking nearby. The nearest town is ten miles down a mostly single-lane road. But they have wireless, and UPS delivers. 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 August 26, 2026August 26, 2026 by Dale Phillips Lutherie: Yesterday, Today, And Tomorrow Lutherie: Yesterday, Today, And Tomorrow by R.E. Bruné Originally published in American Lutherie #107, 2011 Tim Olsen: People who like GAL Conventions should thank R.E. Bruné, our presenter today, because he invented the GAL convention in 1975 when he organized and presented the first one. He’s the founder of a lutherie family dynasty, now beginning its third generation. No instruments from that third generation yet, although I believe that Peter is walking now. (laughter) R.E. Bruné was on the GAL’s first mailing list of forty people. Few of us had anything to offer in the way of information; mostly we had enthusiasm and curiosity. But he was an example of generosity, honesty, and balance that has certainly been an inspiration to me and I think to thousands of others over these many years through the medium of the GAL. So please welcome one of our founders, R.E. Bruné. (applause) The GAL today is the modern organizational manifestation of a formal trade which extends back over five centuries of time. Since there has been music, there have been luthiers, even though they may not have been known by that name. Before I begin however, I would like to recognize some vital folks who have made it possible for us to be here today, starting with J.R. Beall. As the Founding Father of the GAL, he conceived and put in motion the whole concept which we call the Guild of American Luthiers. J.R., who I have known for over forty years, is a true American genius and an inspiration to be around. His many and diverse interests, of which lutherie is but one, are staggering. He is truly an exceptional creator of the highest order. The GAL staff have kept this organization running for forty years through good and tough times, and we are here today because of their tireless efforts. But I would be remiss if I were to omit the most important element of the Guild, and that is you, the membership, for as any good luthier knows, a musician without an audience is like a tree falling in a forest without the philosopher there to hear 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.
