Posted on May 28, 2026June 4, 2026 by Dale Phillips Meet the Maker: Josep Melo Meet the Maker: Josep Melo by Mónica Esparza Originally published in American Lutherie #120, 2014 We met in Sigúenza, Spain, in 2004. I had just arrived at the monastery to participate in my first guitar-making workshop with the great Maestro, José Romanillos. In came Josep, whom I confused for the ghost of Manuel Ramírez. He came directly to my bench and started to assist me. Everyone else thought that he came to me because I was the only woman there, but actually, the class was taught in English, and I was the only Spanish-speaking student. He is Catalan (from the Catalonia region of northeastern Spain), and speaks very little English. During the two-week class, he carried a camera at all times, following José around, and photographing his every move. They are great friends and Josep was assisting with the workshop. He spent much of his time at my bench and I was very grateful for his help. Josep suggested I could return the favor by sweeping his Barcelona shop when I came for José’s class again the following year, and that’s exactly what I did. He said that this is what all new apprentices should do! 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 May 26, 2026May 26, 2026 by Dale Phillips Eight Days to a Dream Eight Days to a Dream by David Smith Originally published in American Lutherie #120, 2014 Forty years ago, just after graduating with a degree in music with studies in classical guitar and lute, I wanted to learn to build instruments. With the help of a local luthier, I built a lute, and then life intruded. I collected books and resources and made a couple of attempts at building, but each time I made a mistake or encountered something I didn’t understand, I’d stop. Nine years ago, following the Cumpiano book, I attempted an unserviced classical kit from LMI, and made it as far as the neck before I stopped. Four years ago, I tried an acoustic steel string kit in a class through a local woodworking tools store. The teacher, though, had only built one guitar, and had not put finish on it. The class increased my confidence, but I wasn’t happy with my results: no finish, poor intonation, and a neck joint that almost fit after three tries. During this entire time I read every copy of AL and every lutherie book I could find. If skills were acquired by reading, I’d be a master. 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 May 22, 2026May 22, 2026 by Dale Phillips Peg Shapers That You Can Adjust Peg Shapers That You Can Adjust by David Golber Originally published in American Lutherie #96, 2008 There are two meanings of the word “adjustable.” One is that you loosen some screws, and some part becomes moveable. Then, if you have superhuman fineness of hand and eye, you can put that part in exactly the right place, and then tighten the screws — hoping that tightening the screws won’t move the part out of place again! The other meaning of “adjustable” is that ordinary human beings can get the part into the right place. Photo 1 shows the usual kind of peg shaper on the right. You loosen the screws that hold a blade and then somehow get the blade to exactly the right spot. Some people use these; they don’t work for me. On the left is one of my peg shapers. The crucial difference is the adjusting nuts, which allow mere mortals to actually adjust the thing. 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 May 8, 2026May 8, 2026 by Dale Phillips V Joint à la Géza V Joint à la Géza by Cyndy Burton Originally published in American Lutherie #63, 2000 and Big Red Book of American Lutherie, Volume Six, 2013 The elegant V joint was once the usual way of joining the head to the neck of the guitar. Early guitars made in Spain, such as those of the Pagés family in the 1700s, French guitars including René Lacôte’s in the 1800s, Italian makers like Panormo (even Stradivari), and so on, all typically used the V joint. C.F. Martin brought the tradition with him to this country in the mid-1800s, but its use on steel strings never really caught on beyond the early Martins. The father of the modern classical guitar, Antonio de Torres, did not use a V joint, and I think it’s fair to say that a majority of makers since Torres, in Spain and worldwide, have not. However, things may be changing back. Two very notable makers of the 20th century, Hermann Hauser Sr. and José Romanillos use it, and a large number of highly respected makers (Kevin Aram, Richard Bruné, Géza Burghardt, Greg Byers, Hermann Hauser III, Robert Ruck, Gary Southwell, and Gernot Wagner to name a few), use it today. I first saw a V joint in the flesh on a Romanillos guitar and heard its maker speak about it at the Toronto Guitar Festival in 1981. It struck me as beautiful, but beyond my woodworking skills. Although I’ve seen many since then, it wasn’t until my visit to Géza Burghardt’s shop (American Lutherie #61) that I met someone with such unabashed enthusiasm both for the joint and for sharing with others the exact process he uses to achieve perfect results. He calls it “foolproof.” His jigs and templates are what make precise work relatively easy and certain. (Sharp chisels help, too.) The point Géza makes is that anyone with reasonable woodworking skills can do a perfect V joint every time. He inspired me; I hope he inspires you, too. Géza’s tools, jigs, and templates are made for permanence and work equally well for steel string and classical necks, both of which are seen in the photos. It is certainly possible to use his ideas to make tools which will serve well without having to take out a bank loan. Proponents of the V joint cite its beauty and strength, very nice qualities to find together! ◆ 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 May 1, 2026May 1, 2026 by Dale Phillips Remembering Manuel Remembering Manuel by Eugene Clark, Armin Kelly, Robert Ruck, Jeffrey Elliott, Cyndy Burton, and Paul Szmanda Originally published in American Lutherie #119, 2014 Manuel Velázquez was making fine guitars in the 1940s, before I knew what a guitar was. I had always assumed his presence, that he would always be with us, like the New York Yankees, like the Statue of Liberty. But now he is gone. Manuel visited Tacoma with his son Alfredo in 2006. Alfredo thanked me for recognizing his father in some of my published articles. I explained that Manuel meant a lot to me — not so much for the guitars he made, but for the man he was. I have said to many people over the years that the most important thing in making guitars is the name that is on the label. It is because of Manuel that I have come to that position. Manuel’s guitars do not sound like the work he has copied ever so carefully. They sound like Manuel — warm and loving, very clear, very Latin. His student-grade guitars, better than many first-class guitars, are very popular in New York City. 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.
