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 June 6, 2024May 28, 2025 by Dale Phillips Letter: NMM Opens Gudelsky Gallery Letter: NMM Opens Gudelsky Gallery by The National Music Museum Originally published in American Lutherie #82, 2005 GAL members — The National Music Museum on the campus of The University of South Dakota in Vermillion, South Dakota, will celebrate the 500th birthday of Andrea Amati, in whose workshop in Cremona, Italy, the form of the instruments of the violin family as we know them today first crystallized, by hosting an international conference — The Secrets, Lives, and Violins of the Great Cremona Makers 1505–1744, Friday–Monday, July 1–4, 2005. The program brings together individuals who have been at the forefront of archival research in Cremona, amidst some of the earliest, best preserved, and historically most important instruments known to survive. Presenters include Carlo Chiesa, John Dilworth, Andrew Dipper, Roger Hargrave, and Duane Rosengard. The event is being coordinated by Claire Givens (Minneapolis), a NMM Trustee. Major underwriting is being provided by four prominent American violin dealers: Chris Reuning (Boston), Jim Warren (Chicago), Bob Bein and Geoffrey Fushi (Chicago), and David Kerr (Portland). Registration forms and housing information are available on the NMM website. 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 23, 2025 by Dale Phillips Letter: Regarding Alex Willis Book and Fretboard Tapering Method Letter: Regarding Alex Willis Book and Fretboard Tapering Method by John Mello Originally published in American Lutherie #95, 2008 Dear Tim, While going over a section of Alex Willis’ Step By Step Guitar Making with a student, I came across a tip on p. 109 regarding cutting slots in a tapered fingerboard blank and realized I had unfairly criticized the suggestion in my review of the book in AL#94. It may be a little ambitious for a student to make the precise wedge necessary on a tapered board of finished dimensions since a line scribed from the temporary reference face would need to coincide exactly with the centerline of the original taper to insure perpendicular slots, but it’s certainly doable. On an oversized board, the wedge would be less critical as a new centerline could be scribed referencing the temporary square face and the final taper cut based on this line. In either case, Alex’s suggestion was sound and my criticism unwarranted. I apologize. ◆
Posted on March 6, 2024May 14, 2025 by Dale Phillips Making a Weissenborn-Style Guitar Making a Weissenborn-style Guitar by John Calkin previously published in American Lutherie #102, 2010 “You shouldn’t write a Weissenborn story,” said Lamar Scomp, “’cuz I don’t want to build one.” Lamar tends to take everything personally, and the rest of humanity be damned. “You didn’t want to build a dulcimer either, until I twisted your arm. But you had fun with it, didn’t you?” I said. “Yup.” “And didn’t you tell me that playing dulcimer was making you a better guitar player?” “Yeah,” said Lamar suspiciously, like he could see the trap in front of him and knew he was going to step in it anyway. “Well, a Weissenborn is sort of the ultimate dulcimer on its way to becoming a guitar. The plates are flat, but braced like a guitar. My version has no taper to the sides, just like a dulcimer. Since it’s meant to be played with a slide, there are no frets to mess with, and setting the high action is a breeze. And it’s fun to play. I think you should check out some ace players on YouTube. You’ll be impressed.” “I don’t believe nothin’ I see online. It’s all computerized trickery,” he said. “OK, Lamar. But the Weissenborn is your next step on the way to making guitars. I think you need to build one.” 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 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.
