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.
Posted on August 26, 2026August 26, 2026 by Dale Phillips Salvador Ibanez Guitar Restoration Salvador Ibáñez Guitar Restoration by Sue Johnson Originally published in American Lutherie #108, 2011 The power of coincidence is strong in my workshop, and so it was with this restoration. The same week that AL#95 arrived, so did a rather sorry guitar. The similarity between my patient and the century-old Spanish factory-made guitar that Tobias Braun wrote about was evident and it was very useful to be able to compare the instruments, particularly where parts were missing or damaged. The guitar had been in the owner’s family for as long as she could remember. It was given to her over thirty years ago, and her then-boyfriend had offered to fix it. She agreed, much to her father’s concern. The handyman boyfriend worked hard and returned the guitar, but it never sounded the same again. A few years later, the guitar was passed to a guitar-playing friend in order to find a suitable repairer. The owner and her friend lost touch, and it seemed that the instrument might never be seen again. In the intervening years the temporary custodian moved around the country, and although she wanted to return the guitar, it wasn’t until the advent of Friends Reunited that it was possible. My customer was delighted that the instrument had survived and was repairable and she wanted to put right the injustice of what she had inflicted on the guitar (and her father) all those years ago. 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 25, 2026August 25, 2026 by Dale Phillips Meet the Maker: Andrea Tacchi Meet the Maker: Andrea Tacchi by Woodley White Originally published in American Lutherie #110, 2012 Imagine building classical guitars in Florence, Italy, perhaps the most beautiful and best-preserved Renaissance city in the world. Firenze, as it’s called there, with its soft light and warm weather, nestled in the rolling hills of Tuscany along the River Arno, is a city that was home to legends such as Dante, Botticelli, Machiavelli, Brunelleschi, Michelangelo, and Galileo, to name a few. The setting itself can take your breath away. In this amazing architectonic center, Andrea Tacchi crafts classical guitars, honoring both past and present masters as he brings his own creativity and artistic talent to the work. His workshop is located on the second floor of the home built by his great-grandfather perhaps a mile from the Ponte Vecchio. Andrea lives in the Tuscan countryside with his wife and his son, Giovanni, and like thousands of other Florentines, commutes around town on his motor scooter. 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.
