Posted on January 13, 2025May 14, 2025 by Dale Phillips Castles in Spain Castles in Spain Making a Classical Guitar with José Romanillos by Stephen Frith Originally published in American Lutherie #72, 2002 and Big Red Book of American Lutherie Volume Six, 2013 José and Liam Romanillos, with the help of Gerhard Oldiges, Tobias Braun, and Big Pep Milos, have shared their methods and ideas openly at a two-week guitar making master class each of the past two summers. I was lucky to be able to attend both sessions, held in the monastery of the Hermanos Maristas in Sigüenza, a medieval town in Spanish Castile. I couldn’t write down all that is available for the student at Sigüenza, but I will try to describe particularly the top-arching system. I used it in my own workshop for a year, then went back to find a few more pieces of the puzzle. Imagine a flat top of European spruce about 2.5MM thick cut exactly with the long-grain fibers, and exactly quartered all across. This guitar top is cut so that it fits within the ribs, and is then adjusted to the flexibility required. The edges of the lower bout are thinned further again to a flexibility all of which reflects the description of the work of Torres in José’s book Antonio de Torres Guitar Maker — His Life & Work. 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 8, 2024May 14, 2025 by Dale Phillips Parametric Solid Modeling Software for Stringed Instrument Design Parametric Solid Modeling Software for Stringed Instrument Design by R.M. Mottola Originally published in American Lutherie #87, 2006 Most folks are awed when first witnessing a Computer Numerical Control (CNC) machine shaping an instrument part. Since such a demonstration makes the advantages of using this technology immediately obvious, a number of people look into acquiring these tools for their own use. A substantial portion quickly loses interest when finding out the depth of complexity of the tools needed to design and build in this manner. Computer Aided Design (CAD) software must be mastered in order to draw the parts. Computer Aided Manufacturing (CAM) software must be mastered in order to specify how the drawings will be utilized in the machining process and to control the CNC machine. And the details of the CNC machine itself must be comprehended before real work can be performed. All of this conspires to lead all but the highly technical and/or highly motivated to the conclusion that these technologies need to be made a lot simpler and more accessible before they can be widely exploited in the industry. Adaptation and use of these technologies can be considered analogous to that of the automobile. When first introduced, the car was something only accessible to those who could understand all of the details of the machine (and repair all the parts, too), but eventually it evolved into a more commodity-like device that is usable with little or no knowledge of its inner workings. This article is an introduction to Parametric Solid Modeling (PSM), an existing second-generation CAD technology that offers potential to bring the benefits of CAD/CAM/CNC to a wider user base. A comprehensive library of parametric models of instrument parts and subassemblies could go a long way toward making these technologies generally accessible. The availability of such a library could render a number of aspects of instrument design to sequences of preparing simple drawings and filling in values in forms. No such library currently exists, but it is possible and likely that one could be developed. Folks working with PSM software in this industry undoubtedly have developed such models for their own use. I have some of my own and will use one as an example of how this technology works. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 8, 2024May 14, 2025 by Dale Phillips Post-Toronto Reflections Post-Toronto Reflections by Jeffrey R. Elliott Originally published in Guild of American Luthiers Quarterly 6, #3, 1978 The Canadian-hosted classic guitar festival “Guitar ’78” has left me with several vivid impressions, some of which I felt might merit hearing through the Guild Quarterly. The range and scope of this event was extensive, and to merely remain with the pace was exhausting. While I had hoped to experience something of several other events also scheduled, I soon discovered that to participate in all the luthiers’ happenings meant to forego nearly every other event on the program. With the scheduled four hours of the guitar makers’ workshop each day, meals, the evening concerts, and precious little sleep, any shop talk or visiting with other luthiers meant overlapping with other classes and events. An expected sacrifice from my “Guitar ’75” experience, but extensive and exhausting nonetheless. Of the 600 or so in attendance perhaps 10% were luthiers: having some 60 luthiers around for 24 hours a day, every day for a week, as well as the scheduled 20 hours of lecture-discussion, rendered me totally susceptible and helpless, and I became absorbed in that unique blend of professional and social camaraderie experienced during both the 1977 G.A.L. convention and the “Guitar ’75” festival. Some fine friendships, and solid professional relationships as well, have had their beginnings at these events. The 1978 G.A.L. Convention/Exhibition and the Carmel Classic Guitar Festival ought to round out this year nicely. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 7, 2024May 9, 2025 by Dale Phillips Questions: Unified Repair Pricing Questions: Unified Repair Pricing Originally published in American Lutherie #25, 1991 John Kitakis from Hendersonville, NC writes: I’ve enjoyed toying with the idea of unified repair pricing throughout North America. To me, it seems unprofessional to have a wide variety of charges for the same repair. I suppose everyone has different needs and wants, and overheads vary, so this “discrepancy” may never be resolved. The repairman down the road (who says he doesn’t need much) will continue to charge $100 for a fret job, and $20 to reglue the bridge. I continue to have plenty of business, so I’ll continue to charge more. Below is a list of a few prices. My complete list is available upon request. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Romanillos Seminar Letter: Romanillos Seminar by Stephen Frith Originally published in American Lutherie #68, 2001 Dear Tim, I joined the GAL a couple years ago, and this philosophy of openness, sharing, and frank exchange is right on the ball. I saw a free ad in American Lutherie: “Master-classes in Spain, make a guitar with José and Liam Romanillos.” A chance of a lifetime? The Romanillos family hosted a fortnight working holiday, which was busy, friendly, happy, and constructive. Set in the Sigüenze hillsides, we were the comfortable guests of the Hermanos Maristas. In the spirit of openness and sharing, José and Liam helped us consider each piece of wood, as we made our guitars. A quote: “If we know, we tell you.” Based on José‘s first successful instrument in the Spanish tradition of Torres, our work was guided with strategies and beliefs. Secrets don’t exist in good news. On the front bench were all the planning forms and construction templates needed to make a Romanillos and Son guitar, and copying of these was firmly encouraged. The method was straightforward, sensible, and uncomplicated, one that can be easily replicated in my own workshop. I’ve brought home my own Frith/Romanillos. Sounds great! Speaking as an old London College of Furniture boy, I have to say the Sigüenza 2001 course was brilliant. The cost was reasonable, and returning next year for some fine-tuning would be exciting for a full-time luthier like me. I hope it runs and runs, there is always more to learn. It was great to meet members from all over: Texas, California, Canada, England, Switzerland, Germany, Belgium, Spain, and Japan. Sigüenza 2002? Go for it! ◆
