Posted on January 5, 2010March 11, 2024 by Dale Phillips Review: Guitar Voicing Class with Ervin Somogyi Review: Guitar Voicing Class with Ervin Somogyi Reviewed by Joe Herrick Originally published in American Lutherie #95, 2008 I’m a hobby builder making two or three guitars a year. I learned to make guitars six years ago by taking a two-week, one-on-one course with an experienced luthier. I went on to make seven more guitars exactly the way I was taught, just following the numbers for top thickness, brace height, brace profile, and so on. I didn’t want to make changes, only to have the guitars not be as good as I knew they would be if I just followed the “recipe.” They sounded good, but I was missing out on how much better they could be. I learned the mechanics of how to build a guitar from my first teacher. Ervin Somogyi’s class taught me the why and encouraged me to grow. Ervin gives you a starting point, and then the knowledge and the challenge to move beyond that starting point with your soundboards. Ervin is a fun, patient, and exceptional teacher, passionate about guitars and life. He enjoys being challenged and everything is fair game for further discussion. He does not come across as a know-it-all with canned responses for each question. He would often ask what we thought and then built on that with his own knowledge and experience. And he was not above saying, “I don’t know.” The class has a 4" binder of handouts. Ervin follows a syllabus that builds methodically from the ground up, but we tweaked the syllabus as we went along to delve into areas that we, as a class, wanted to pursue. 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 5, 2010March 11, 2024 by Dale Phillips Review: Classical Guitar Making, A Modern Approach to Traditional Design by John S. Bogdanovich Review: Classical Guitar Making, A Modern Approach to Traditional Design by John S. Bogdanovich Reviewed by John Mello Originally published in American Lutherie #95, 2008 Classical Guitar Making, A Modern Approach to Traditional John S. Bogdanovich ISBN (hardcover): 9781402720604 Sterling Publishing Co., Inc., 2007, $29.95 Classical Guitar Making, A Modern Approach To Traditional Design by John S. Bogdanovich is a hardbound 310-page volume filled with beautifully clear photography that amply illustrates the detailed text. While the back cover proclaims that the author will “help you develop all the necessary skills, even if you’ve never made anything more complicated than a school woodworking project,” a fairly high degree of proficiency in both hand and power tools is assumed, particularly regarding the use of hand planes. You’ll have to bring your own chops and/or be willing to develop them on the fly. The tone throughout is personal, almost conversational, and we are presented with a lot of biographical material and philosophical ruminations that may seem extraneous to the physical task at hand, but for someone considering a long term engagement with the craft rather than a one-off build, it’s one of the book’s strengths. As a novice, I would have loved to know how a working professional got started, influences shaping their sonic and aesthetic choices, and the many facets of the mysterious lifelong refining of one’s craft. “Part One — Preparation” includes discussions of guitar anatomy with an emphasis on the interrelatedness of the parts, wood types and selection, and shop requirements, including brief descriptions and photos of recommended vises, benches, and generic and specialty power and hand tools. There are clear, dimensioned plans for making a number of specialty jigs, bench tools, and specialty items such as shop-made calipers and sanding disks. One small problem arises in the author’s discussion of the need for concave sanding disks of 15' and 25'. Fabricating these is discussed only perfunctorily, with uncharacteristically no illustrations, and no indication of how to obtain or make the illustrated radius sticks. If we take the author’s suggestion and simply purchase the disks we can certainly make our sticks from them, but the degree of back and top arch is an important, alterable variable, and knowing how to generate alternative radii, short of getting a 25' board, a pencil, and a big room, would be useful. This may be a little beyond the scope of an introductory tutorial, but the growing current reliance on commercial concave disks of limited selection to set the back, while a facile solution to a process Irving Sloane once described as “exacting and tedious,” may lose sight of the fact that many of the great historic and contemporary classical guitar makers did and do not set the back in a uniform dome with its attendant reduction of side depth at the tail block. End of rant. Sorry. 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 4, 2010March 11, 2024 by Dale Phillips Review: The Fine Guitar by José Oribe Review: The Fine Guitar by José Oribe Reviewed by C.F. Casey Originally published in American Lutherie #9, 1987 and Big Red Book of American Lutherie Volume One, 2000 The Fine Guitar José Oribe Mel Bay Music stores or amazon.com, $19.95 First off, let it be said that this is not a “how-to” book; it gives very little specific information on Oribe’s building procedures. To be fair, this was not the book’s intent; as Aaron Shearer says in his foreword, the book deals with “What to think about relative to creating an exceptionally fine guitar” (emphasis Shearer’s). Oribe talks about his years of experience as a luthier, and dwells on the attitudes, theories, and various generalizations that this experience has led him to. Under the headings of materials, soundboard, scale, adhesives, finish, setup, and strings, he conveys a lot of useful...tips isn’t quite the right word; perhaps attitudes. Oribe has a clear, lucid style, all the more surprising when you consider that a lot of what he’s discussing is intangible. 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 3, 2010March 11, 2024 by Dale Phillips Review: Classic Guitar Making by Arthur E. Overholtzer Review: Classic Guitar Making by Arthur E. Overholtzer Reviewed by William McCaw Originally published in American Lutherie #1, 1985 and The Big Red Book of American Lutherie, Volume 1, 2000 Classic Guitar Making Arthur E. Overholtzer Williams Tool Company, 1983 (revised edition) Out of print (1999) For readers who are familiar with the original edition of Classic Guitar Making, this edition is a new printing, using a full-page format instead of the two-column style used in the original, and has about two-thirds of the illustrations (180). As far as I can tell, the text is the same, with some general tightening up of Art’s rambling style. The printing and illustrations are of a higher quality than the original version. The directory of sources for materials and supplies has been expanded and updated. When I first got interested in building classic guitars, I read several books and soon discovered that there were several ways of doing most of the construction operations. At that time, the first edition of this book was out of print. When I finally got a copy through interlibrary loan, it struck me as being the most logical and complete source that I had read on classical guitar building, so I started using Overholtzer methods. His concepts have done well for me and have been a good platform from which to experiment, in building eleven classic guitars, a fingerpicking steel string, and a 34" scale acoustic bass guitar. 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 1, 2010March 11, 2024 by Dale Phillips Three Craftsmen Three Craftsmen by H.E. Huttig previously published in Guild of American Luthiers Quarterly 10 #3, 1982 See also, “The Guitar & I” by H.E. Huttig “Woes of a Wood Merchant” by H.E. Huttig Just returned from a trip from Miami to Williamsburg, and return with visits to three fine craftsmen. First we visited Allen Chester in Jacksonville. Allen says he was inspired by an early article of mine to start building classic and flamenco guitars. The demand for electrics was much greater, so he changed over and now specializes in them. He is a builder and repairman for quite a few professional groups and is highly esteemed for his work on their instruments. He had tee shirts made up with his logo, and one of the groups wore them when their picture was taken for an album cover. Allen says that he has the luck to be in the right place at the right time. What he doesn’t say is that he has the talent to take advantage of opportunities and the abilities to back up his participation. Allen is multi-talented and experienced in all sorts of mechanical and machine work. He belongs to a sail plane club; not only flied but also builds the sophisticated and super light glider aircraft. He made a rosewood belt buckle with a mother of pearl inlay in the design of a sail plane. It was a gift for a friend, but now he has orders for the belt buckles. He lives in a comfortable house on which he has put additions and restorations. At least half of the building houses his well-stocked workshop. 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.
