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Review: Acquired of the Angels by Paul William Schmidt

Review: Acquired of the Angels by Paul William Schmidt

Reviewed by Linda Manzer

Originally published in American Lutherie #59, 1999 and Big Red Book of American Lutherie Volume Five, 2008



Acquired of the Angels
Paul William Schmidt
Scarecrow Press, 1998
ISBN 1578860024

In the fall of 1983 I had the good fortune to be invited to study in the shop of James D’Aquisto. I confess that while I knew James D’Aquisto was a respected and famous archtop builder, I didn’t know the half of it when I walked through those doors the first time.

As I worked side by side with him, listening to his stories, watching him work, and watching various characters in his life come through the doors of his workshop, I realized I wasn’t just at a workshop but I was witness to a very magical moment in guitar history.

The tools, the woods, the layout of the shop, the music we listened to, the stories he told, and most of all his guitars, all were another world for me. These impressions were the groundwork for my own path as an archtop builder and for many other builders. So when I learned that Paul William Schmidt had written Acquired of the Angels: The Lives and Works of Master Guitar Makers John D’Angelico and James L. D’Aquisto I was very curious to see how his impressions would compare with mine.

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In Memoriam: Taku Sakashta

In Memoriam: Taku Sakashta

December 11, 1966 – February 11, 2010

by Tom Ribbecke

Originally published in American Lutherie #101, 2010

Besides making world-class guitars, Taku Sakashta was part of our local community of artists. In the blink of an eye he is gone, at the hands of a brutal career criminal. Nothing prepared us for the loss of our friend like this. It can really test one’s faith. He is survived by his wife Kazuko. As she worked with Taku, she now is bereft of an income as well as a husband.

Taku came to America and achieved the respect and admiration of his peers. As my former apprentice Isao Abe said about the Japanese culture, “The highest nail is hammered down first.” But here, Taku was an unstoppable lutherie force. He developed his own aesthetic and created extraordinary designs. As Rick Turner pointed out, Taku achieved his dream. Losing him is not easy. When an artist of his stature dies, so do the many guitars he certainly would have left to the world had he lived.

Taku would come to visit without warning. I would turn around and he would be standing in my shop in his apron, usually with one of his students or an assistant in tow. I used to tell him he looked like my grandfather Hideo (who later became Henry) and he would laugh. He would round up the Japanese apprentices from Ervin’s and my shop, and take them camping, or out for beers. He was really caring for this group of men, and was always there for them.

Photo by Jonathon Peterson.

So there we sat in the front row at Taku’s memorial service at the request of his family: Larry Robinson, Steve Klein, Ervin Somogyi, Rick Turner, and myself, with our 200 years of collective instrument making experience. I was honored to be in the company of these outstanding people, who all share the same love of the art and the craft of lutherie. My apprentices call us the “old Gs” of guitar making. It felt like we were burying one of our children.

The family did not want the media there. It was a small and lovely service, half in English and half in Japanese, honoring his life. Tuck and Patty performed, and we were treated to slides of Taku as a wild young man and as a little boy. This was the story of his life outside of guitars.

Taku was a remarkable, brilliant, unstoppable, unflagging force for lutherie. But I will always remember him as a better person.

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Letter: Use Any Wood You Like

Letter: Use Any Wood You Like

by John Calkin

Originally published in American Lutherie #25, 1991



Dear Tim,

In 1981 I bought a new Alvarez-Yari 6-string, with laminated rosewood back and solid spruce top. Lots of guitars sound as good, but hardly any sound better. Lots of guitars are as playable, but very few play nicer. I’ve worked on or played dozens of high end, exquisitely made guitars and a bunch of vintage pieces, and not one has ever blown me away.

Early in my career I helped do sound at a local folk benefit. Lots of fine talent turned out, sporting a number of classy guitars. But a low-end mahogany Yamaha blew them all away, no contest.

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Letter: Don’t Replace Bridge Plate

Letter: Don't Replace Bridge Plate

by John Higgins

Originally published in American Lutherie #41, 1995



Greetings to All-

As usual, the last issue of the quarterly was filled with loads of good stuff, with useful information available in all the articles. However, I must take exception to the premise of Bryan Galloup’s reason for replacing the bridgeplate on the 1962 D-28. He states he replaced it because “the balls on the string ends have worn all the way through (the plate) and into the top.” Had the top “bellied up” behind the bridge or sunk toward the soundhole, I would say such a repair would be warranted. Since only the ball ends are involved, I feel the better option is to install a piece of quartersawn maple, cut 0.100" thick by 5/8"×2 3/4", onto the existing plate with some yellow glue. When redrilled and slotted, it seats the ball ends properly, as well as pulling the winding back into the pin hole and off the saddle. The small amount of wood added doesn’t seem to affect the tone adversely, but helps due to the windings being off the saddle. Martin recommends this method when only ball-end wear is a factor, and I’ve found it to be very effective.

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Letter: Guitar Dimensions and Harmonics

Letter: Guitar Dimensions and Harmonics

by Joe D. Franklin

Originally published in American Lutherie #66, 2001



GAL Members,

The resonant chamber or soundbox on a guitar is the greater half of its tonal success. If the air enclosed in this box can resonate naturally at some harmonic of the speed of sound, then you have a winner. This is the only part of the guitar that is capable of maintaining polyphony at a level amplitude or volume throughout any given song.

Two designs from the past have met these standards, the 1864 Torres and the 1935 Hauser/Torres, and later the 1943 Hauser that used an inversion on the concept of where the fundamental bass might reside.

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