Posted on July 7, 2024May 19, 2025 by Dale Phillips Letter: Gittler Guitar Letter: Gittler Guitar by Anthony D. Blokzyl Originally published in American Lutherie #19, 1989 I read your request for information on the Gittler guitar with great relief! I have yet to see one of these unique instruments, and hope that they are still being manufactured somewhere. They were first mentioned, that I know of, in the August 1978 issue of Guitar Player. The Gittler is almost entirely of brushed stainless steel. There is a central “spine” through which are milled, at decreasing intervals, a series of holes that erupt fractionally. Through the holes are friction fitted short rods acting as frets. The inventor remarked in the article that the dowels could be turned to compensate quickly for wear, if such was feared. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 5, 2024May 14, 2025 by Dale Phillips Adjustable Truss Rod Adjustable Truss Rod by Jim Williams Originally published in Guild of American Luthiers Data Sheet #277, 1984 and Lutherie Woods and Steel String Guitars, 1998 For many and varied reasons, many luthiers are wary of adjustable truss rods when building instruments. The most obvious reason is the difficulty of making and fitting a conventional truss rod as used by Gibson, Guild, and others. The efficacy of this system is often doubtful as well, plus there’s the legacy of broken pegheads that often results from the excavation of wood to accommodate the adjusting wrench. The drawings illustrate the difference in operation between the conventional system and the system I am describing which is similar to that used by Gurian and Rickenbacker. This method is also great for mandolins. You will need a 3' length of 3/16" steel rod, a small block of brass 1/2"×1/2"×3/8", a 3/16" U.N.S. thread Allen nut (what you in the U.S. call 10×32) and some 3/4" wide fiberglass packaging tape. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 1, 2024May 29, 2025 by Dale Phillips Questions: Guitar Stand Questions: Guitar Stand by Cyndy Burton Originally published in American Lutherie #67, 2001 Doug Lancaster from cyberspace asks: I’ve been working on the design of a high-end classical guitar stand and have begun to think about marketing it to dealers of classical guitars. Any suggestions? Editor responds: Yes, a quick look through Soundboard magazine (www.guitarfoundation.org), Guitar Review (www.guitarreview.com), and Acoustic Guitar magazine (www.acousticguitar.com), will reveal an unprecedented abundance of dealers. The websites are very handy places to get a feel for the relative values of instruments, too. Here’s a list which is by no means totally inclusive: (By the way, all the websites mentioned in this column are available as links at the GAL page.) Richard Bruné (Evanston, IL) www.rebrune.com Classic Guitars International (Los Angeles, CA area) www.classicguitar.com GSP (Guitar Solo, San Francisco, CA) www.gspguitar.com Guitar Salon International (Santa Monica, CA) www.guitarsalon.com The Guitar Salon (Beverly Maher, NY, NY) www.theguitarsalon.com Guitars International (Armin Kelly, Cleveland, OH) www.guitars-int.com Handpicked Guitars (Rik Jonna, Detroit, MI area) www.handpickedguitars.com Kirkpatrick Studio (Baltimore, MD) www.kirkpatrickguitar.com Pioneer Music (Portland, OR) www.pioneermusicco.com Rare and Fine Guitars (Bruce Banister, Jefferson, IA) www.classicalguitarnet.com Jerry Roberts Guitars (Nashville, TN) www.lamancha.com Rosewood Guitar (Seattle, WA) www.halcyon.com/rosewood Santa Fe Guitar Works (Santa Fe, NM) http://santafeguitar.com Trilogy Guitars (John Silva, Los Angeles, CA) www.trilogyguitars.com Dan Zeff Guitars (Los Angeles, CA) www.dzguitars.com
Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Romanillos Seminar Letter: Romanillos Seminar by Stephen Frith Originally published in American Lutherie #68, 2001 Dear Tim, I joined the GAL a couple years ago, and this philosophy of openness, sharing, and frank exchange is right on the ball. I saw a free ad in American Lutherie: “Master-classes in Spain, make a guitar with José and Liam Romanillos.” A chance of a lifetime? The Romanillos family hosted a fortnight working holiday, which was busy, friendly, happy, and constructive. Set in the Sigüenze hillsides, we were the comfortable guests of the Hermanos Maristas. In the spirit of openness and sharing, José and Liam helped us consider each piece of wood, as we made our guitars. A quote: “If we know, we tell you.” Based on José‘s first successful instrument in the Spanish tradition of Torres, our work was guided with strategies and beliefs. Secrets don’t exist in good news. On the front bench were all the planning forms and construction templates needed to make a Romanillos and Son guitar, and copying of these was firmly encouraged. The method was straightforward, sensible, and uncomplicated, one that can be easily replicated in my own workshop. I’ve brought home my own Frith/Romanillos. Sounds great! Speaking as an old London College of Furniture boy, I have to say the Sigüenza 2001 course was brilliant. The cost was reasonable, and returning next year for some fine-tuning would be exciting for a full-time luthier like me. I hope it runs and runs, there is always more to learn. It was great to meet members from all over: Texas, California, Canada, England, Switzerland, Germany, Belgium, Spain, and Japan. Sigüenza 2002? Go for it! ◆
Posted on July 1, 2024May 22, 2025 by Dale Phillips Questions: Double Neck Acoustic Guitar Plans Questions: Double Neck Acoustic Guitar Plans by Fred Carlson Originally published in American Lutherie #100, 2009 Henry Canteri from Brazil asks: Do you have any plans or other information about double neck (6- and 12-string) acoustic guitars? Fred Carlson from Santa Cruz, California replies: With any double-necked instrument, there are a few obvious choices to be made in the design stage: ▶ How much space do you need between the necks? This is crucial for the playability of the upper neck. I think most 6-and-12 double-necks have been solidbody electrics; generally speaking, left-hand technique on electrics tends to use less space (around the neck). The necks are smaller, they are often played in a standing position with a strap; the thumb often wraps around the neck. On the other end of the spectrum, if the player uses a classical position (sitting, guitar on left leg), the fretting arm and wrist extend much further out from the treble side of the neck; you’d need more space between necks if you wanted full utilization of the “upper” neck in that position. In order to accomplish that, the necks may need to be angled, rather than being parallel as is often seen on solidbody 6-and-12 double-necks. Steel-string/folk playing position tends to put the fretting hand somewhat closer to the neck, needing less space than classical, but everyone’s different. 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.
