Posted on June 6, 2024May 23, 2025 by Dale Phillips Questions: Nontropical Fingerboard Materials Questions: Nontropical Fingerboard Materials by Tom Theil Originally published in American Lutherie #96, 2008 See also, Questions: North American Wood by Mark French, Ned Steinberger, and Alan Carruth Tom Theil from Northwind Tonewood in Upper Sandwich, New Hampshire responds to Larry L.’s question in AL#94 about nontropical materials for fingerboards: As high quality exotic woods are becoming more precious, domestic alternatives become more viable. Fingerboard/bridge material must be hard, abrasion resistant, stable, and of similar pore structure, density, and (usually) color to traditional materials. Since every element of the instrument imparts its sonic signature, and the fingerboard and bridge are close to the vibrating string, their structural and resonance characteristics are quite important. These characteristics are measurable, but very subtle and include stiffness in all three grain directions, mass, and damping factor, plus stability and machinability for frets and inlay. You can select materials which mimic ebony, rosewood, or maple, the traditional woods of preference. Tests might include weight, feel under sandpaper, and the sound when knuckled, scratched, and bounced on its endgrain. Although only marginally scientific, these tests are amazingly accurate due to the ear-brain system’s ability to differentiate subtle information contained in the early onset transient of the sound. If it rings cleanly, it is clean. If it knocks like papier mâché, it’s dead. These characteristics become part of the instrument’s tone. 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 June 6, 2024May 27, 2025 by Dale Phillips Questions: Round Shouldered Dreadnought Questions: Round Shouldered Dreadnought by Mark Swanson Originally published in American Lutherie #90, 2007 Graeme Hugh Langley from the Internet asks: Does anyone know if there is a set of plans available for a round-shouldered dreadnought guitar such as a J-45 or J-50 Gibson style? Mark Swanson of Grand Rapids, Michigan replies: I assisted Jamie Unden of Guitar Plans Unlimited (www.guitarplansunlimited.com) with a plan for just such a round-shouldered dreadnought guitar. I had an early ’50s Gibson J-45 in my shop, so I measured and detailed as much as I was able and sent the information to Jamie, who drew up the plan. It’s available, along with many others that can’t be found elsewhere, on his website. ◆
Posted on March 3, 2024May 15, 2025 by Dale Phillips An Interview with Guitarist Roger McGuinn An Interview with Guitarist Roger McGuinn by Rachael Brent Originally published in Guild of American Luthiers Quarterly, Volume 9, #3, 1981 Anyone that has ever seen Roger McGuinn perform knows without a doubt that, unlike many other musicians, McGuinn will never disappoint an audience. His singing, playing, selection of songs, and rapport with his audience convinces all that he is one of the most talented, thoroughly professional musicians in the business. Beginning his career as Jim McGuinn, (later changing over to Roger) he was renowned as a fine banjo player and guitarist in the early 60s. He found a place as a accompanist, writer, and /or arranger for such artists as the Chad Mitchell Trio, the Limelighters, Bobby Darin, Tom and Jerry (later renames Simon and Garfunkel), Judy Collins, and the Brothers Gibb (the Bee Gees). 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 October 31, 2022May 23, 2025 by Dale Phillips A Survey of Guitar Making Books A Survey of Guitar Making Books by Graham McDonald Originally published in American Lutherie #98, 2009 Over the years, I have accumulated quite a few books on building guitars and other stringed instruments, as I’m sure many other instrument builders have. While many of the newer publications get reviewed in American Lutherie and other specialist magazines soon after release, others fly pretty much under the radar and never get much attention or noticed at all. This is a comparative look at most of the books that have been published (at least in English) as instructional manuals over the past fifty years or so. Most have remained in publication over the years and even the ones that are out of print are usually pretty easy to find, especially through such online retailers like AbeBooks (abebooks.com) or Amazon. 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 March 4, 2022May 20, 2025 by Dale Phillips Steve Kauffman: Winnin’ and a-Grinnin’ Steve Kauffman: Winnin’ and a-Grinnin’ by Ted Davis Originally published in American Lutherie #6, 1986 Mention guitar flat-pickers and names like Dan Crary, Tony Rice and Mark O’Connor burst into our minds. To the growing number who know Steve Kauffman, his name flows just as easily and quickly into our thoughts. Steve has many things in common with these “biggies”. For instance only three men have ever won the flat picking championship at Winfield Kansas twice. Mark O’Connor and Steve Kauffman are two of the three. Dan Crary had the following to say about his first meeting with Steve: “One night in the summer of 1977 I had a chance to sit down and join with some fine guitar players in Knoxville, Tennessee. One of the things I remember about that gathering is the looks of respect and awe several of the pickers gave Steve Kauffman when he came over and sat down. I soon found out why: Steve is one of the best young flatpickers in the country. And along with his flair for the hot and flashy, he has some additional ammunition like power, clarity and musical taste. All those things make him an out-of-the-ordinary guitar man. The music is up beat, hot and melodic. When it’s over you feel like you’ve heard the tune and you’ve learned a couple of things about guitar and mandolin playing and you’ve enjoyed yourself besides.” (From the cover of Steve’s first album “Footloose”.) 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.
