Posted on April 6, 2026April 7, 2026 by Dale Phillips Meet the Maker: Michael Bashkin Meet the Maker: Michael Bashkin by Brian Yarosh Originally published in American Lutherie #132, 2017 A Bashkin guitar really stands out. The design and artistry speak volumes. And once you have had the pleasure of hearing or playing one, you won’t forget it. The tone has an identity all its own. I have known Michael for many years. Every time we talk about lutherie, I learn something new. He is a great guy and has a wealth of knowledge that he is always willing to share. I sat down with Michael at the 2017 GAL Convention for a chat. Let’s start at the beginning. Where did you grow up? What did your parents do? When was your first introduction to guitars or woodworking? My grandparents emigrated from Poland and Russia to the USA about 1905. They were part of that big immigrant wave. They did typical immigrant things; they were in the garment industry and had to bootstrap their way up. My parents were born in Brooklyn in 1940s, and each was the first in their family to go to college. My dad taught high school at Brooklyn Tech for over twenty-eight years. My mom was an elementary school teacher, but when they had a family, she started staying home. I was born in New York City and lived in Brooklyn for a couple of years. Then we moved out to the suburbs in Teaneck, New Jersey, about six miles from the George Washington Bridge. Dad commuted in to the city every day. It still very much felt like we were in the New York area. So I had a pretty normal middle-class childhood, and I felt fortunate that I grew up in a racially mixed town. 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 March 19, 2026March 19, 2026 by Dale Phillips Mackintosh Inspired Inlay Mackintosh Inspired Inlay by Kathy Wingert Originally published in American Lutherie #112, 2012 When I’m in the process of doing something, it always just feels like putting one foot in front of the other. Finding out afterward that there is curiosity about the inspiration and the process is always a pleasant surprise for me. After being dragged every balky step of the way into harp guitar making by my first harp guitar client, I felt it was quite obvious that I would continue leaning on inspiration from the Scots couple of architect Charles Rennie Mackintosh and designer Margaret MacDonald Mackintosh. My client requested this peghead inlay from my daughter Jimmi Wingert, based on an abstract rose motif that occurs over and over in Mackintosh furniture and art. In the photos below, the iconic rose appears in a Mackintosh stained-glass window that also incorporates the leaf elements and curving lines that are reflected in the inlay on the arm of my recent harp guitar. The “muse” that Jimmi inlaid was drawn by artist Christa Percival. 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 January 16, 2026January 17, 2026 by Dale Phillips Harvey Thomas and the Infernal Music Machine Harvey Thomas and the Infernal Music Machine by Tim Olsen Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie, Volume 1, 2000 Remember what the term “Japanese guitar” used to mean, back when beatniks roamed the earth and Elvis was still kinda nasty? The Beatles hadn’t landed and I was in the third grade when my big brother Jim brought home a brand new Japanese guitar. Loosely modeled after a classic, it was already caving in from the load of its steel strings. You don’t see them like this anymore, man. Painted-on binding, decal rosette, door skin luan plywood, basswood (or worse) neck, nice sharp ends on those rough brass frets. I was totally fascinated! But the word fascination found new meaning a year later when my even bigger brother Dick came home from college with what might as well have been the Messiah Strad. It was a very plain, small bodied New York era Epiphone archtop with a badly repaired crack running the full length of the soundboard, and he had bought it cheap in a pawn shop. The hand of mortal man never created such perfection. This was a gift from the angels! Oh, the lovely dissonances that it spoke as I whanged it with a juice glass slide! When Dick was begged, he would strum “Who Put the Overalls in Mrs. Murphy’s Chowder.” 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 January 15, 2026January 15, 2026 by Dale Phillips Getting Good Inlay Results with Inexpensive CNC Routers Getting Good Inlay Results with Inexpensive CNC Routers by Jon Sevy Originally published in American Lutherie #144, 2021 Prices for basic CNC routers have dropped dramatically, to the point where small machines in the “3018” class cost only about $250. The name comes from the workable cutting area of 30CM×18CM, which is too small for cutting many of the parts of a guitar (neck, body outline, and so on), but perfect for creating inlays for the peghead and fretboard. The router can be used to cut out both the inlays (in shell, wood, and other materials) and the pockets into which they will be glued. If you have done this by hand, you’ll know just how exacting and time consuming this work is. I use a jeweler’s saw and bird’s-mouth platform to cut the delicate inlays from mother-of-pearl and abalone, and a Dremel with a selection of fine bits to cut out the pockets, using a high-magnification headpiece so I can cut precisely to the lines. It’s tedious work, especially for the repetitive fretboard inlays, so I was interested to try a CNC router as a way to offload this task. There are many resources available for getting started with one of these routers, including tutorials and software packages for developing designs and controlling the router. The routers are widely available on Amazon; I purchased a SainSmart Genmitsu 3018 Pro model based on the reviews (Photo 1). Some assembly is required, but it was relatively straightforward to get it up and running. Most routers come with software that can be used to control the machine, but it’s often proprietary and may be somewhat limited in functionality. However, the machines generally use a standard open-source firmware called GRBL, which makes it easy to use other software packages to control the router. Though the software supplied with the Genmitsu router is adequate, it’s Windows-based software and I run Linux on my laptop, so I chose to use the open-source bCNC package instead of the Genmitsu software. But all of these software packages support the two essential operations for router control, which are manual positioning and execution of G-code to automatically drive the router. G-code is a simple text-based language to specify the position of the cutting bit. 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 15, 2025July 15, 2025 by Dale Phillips Greven Images Greven Images John Greven Demonstrates His Inlaying and Engraving Methods by John Greven from his 2001 GAL Convention workshop Originally published in American Lutherie #72, 2002 and Big Red Book of American Lutherie Volume Six, 2013 In over forty years in this business, I’ve developed my own way of doing things. Today I’m going to show you my method for cutting the inlay out of shell or laminate, for cutting the hole for the inlay and gluing it in, and for engraving it to bring it to life. “Don’t try this at home, kids.” It’s my own method, not the gospel. I learned this on my own, and it works better than the standard technique of cutting pearl by hand for me. If you want to see the standard way, check out Larry Robinson’s book, The Art of Inlay. It has wonderful pictures. His method for cutting pearl, which is more orthodox, involves a simple cutting table that has a V-shaped cutout with a small hole at the narrow end, and you saw vertically as you hold the piece down on this table. I just never could get the hang of that; it seemed very cumbersome and slow. The one advantage I can see in that approach is that the material is always supported right next to your blade, so you can make little tight cuts with less risk of breakage. 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.
