Posted on August 31, 2026August 31, 2026 by Dale Phillips Reducing Build Variation In Arched Plates Reducing Build Variation In Arched Plates by Mark French and Eddie Efendy Originally published in American Lutherie #101, 2010 It is generally assumed in manufacturing operations that build variation and build quality are inversely related. This can be problematic in instrument manufacture because of the natural variation in wood properties. The point of series production is to make identical products that match a blueprint or some other geometric description. For a group of instruments to be identical, they must not only have identical geometry, but should also sound the same. This is a very difficult task and there is probably not a single objective metric that describes tonal quality. However, one necessary condition is that the resonant frequencies of the instruments should be the same. 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 July 30, 2026July 30, 2026 by Dale Phillips Review: Acquired of the Angels: The Lives and Works of Master Guitar Makers John D’Angelico and James L. D’Aquisto by Paul Schmidt, third edition Review: Acquired of the Angels: The Lives and Works of Master Guitar Makers John D'Angelico and James L. D'Aquisto by Paul Schmidt, third edition by Mike Doolin Originally published in American Lutherie #143, 2021 Acquired of the Angels: The Lives and Works of Master Guitar Makers John D’Angelico and James L. D’Aquisto, Third Edition Paul Schmidt ISBN 978-0692165515 DHR Publishing, 2018 Paul Schmidt’s Acquired of the Angels was a landmark book when it first appeared in 1991. Schmidt’s research yielded an enlightening portrait of two of the most influential luthiers of the 20th century, whose work largely defined the ideal form of the archtop guitar. Since the 1998 second edition was insightfully reviewed by Linda Manzer in 1999, (AL#59, Big Red Book of American Lutherie Volume Five) I’ll mostly focus on the differences in the latest, third edition. The biggest change from second to third edition, and maybe the best reason to purchase the latter, is the physical format. The new edition is nearly double the size, more of a coffee-table-book format, and the photos benefit greatly from the expanded real estate. In particular, Josh McClure’s studio shots dazzle with detail, color, and lighting. Closeups of tailpieces and headstocks show the maker’s meticulous attention to detail. The cover photo on the paper jacket will catch most people’s eye as the low E string of the guitar has shifted out of its notch in the saddle. Be sure to read the Unofficial Official Photography Artist section to read the humorous story behind that error. 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 July 17, 2026July 17, 2026 by Dale Phillips Archtop Guitars With Italian Flare Archtop Guitars With Italian Flare by Stephen Marchione from his 2011 GAL Convention lecture Originally published in American Lutherie #115, 2013 I lived in northern Italy as a kid, in a town near Cremona called Bergamo. In the town square there was a violin maker who also made some guitars. I walked by his workshop every morning on the way to school. I was eight years old and I would always stop to look in the window. My mom was saying, “Hurry up, you’ll be late for school!” and I was like, “Wow! That looks much better than school!” Venetian Italy or Cremonese Italy is the birthplace of the violin and the archtop tradition. The way that architecture and art is treated and looked at there has some important lessons that can be carried into lutherie. As soon as you get to Venice (Photo 1), you notice that everything is in order and everything is built to look a certain way. You can see that people put a lot of time and effort into first imagining how it would look, and then learning a way to create it that would be beautiful and long lasting. 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 July 14, 2026July 14, 2026 by Dale Phillips Meet the Maker: Stephen Marchione Meet the Maker: Stephen Marchione by James Condino Originally published in American Lutherie #114, 2013 I first met Steve Marchione writing a story for Mandolin Magazine. He was bold, confident, and opinionated; I liked him instantly. A couple of years later, we wound up next to each other at the 2011 GAL Convention. Two troublemakers with funny last names; we’ve been good friends ever since. The more I get to know him, the more respect I have for him and for his work, and also the more similarity I see in our backgrounds and in our core individuality as nerdy instrument builders. We’re working on a collaborative project in the near future that will be a celebration of the work and heritage of our mentors, highlighting the history and heritage of the first two generations of great Italian American guitar builders and pushing it beyond into the next level with our own flair. Give us a little bit of background and the early years: I was born in Texas in 1966, but as a young boy, my family moved to Bergamo, Italy, outside of Milano towards Cremona. In 1972 I was seven, and I can remember my father took me to Cremona to see a Stradivarius violin. I didn’t quite understand everything, but I knew it was very important. 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 June 5, 2026June 5, 2026 by Dale Phillips Making an Archtop Pickguard Making an Archtop Pickguard by Nate Clark Originally published in American Lutherie #116, 2013 The ubiquitous tortoise pickguard. This one is from a 1947 Gibson ES-150 archtop (Photo 1). The glue joint between the pickguard and the celluloid “nut” that’s attached to the bracket has failed (Photo 2). The celluloid is deteriorated at this old glue joint as well as the point of contact with the pickup. I suppose I could repair the pickguard but it’s going to be quicker and more stable to make a new one from some fresh celluloid. To keep this job simple and profitable I’ll use a combination of woodworking hand tools and power tools to make a good looking pickguard reasonably fast. 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.
