Posted on April 15, 2026April 20, 2026 by Dale Phillips Building the Tanbour Building the Tanbour by Nasser Shirazi Originally published in American Lutherie #120, 2014 About a thousand years ago, the great Persian philosopher Abu Nasr Farabi (873ad–950ad) dedicated a large portion of his major work on music Al Mosighi Kabeer (Great Music) to the tanbour. In this day and age, instruments similar to the tanbour are still played in different countries of the Middle East. I have based this article on an instrument that belongs to my friend Amir Nojan, a master setar player. It was made in Kurdistan, west of Iran, where the tanbour is very popular. The plan presented here is based on measurements of this instrument, whose builder is Ostad Assadollah Gahvareh, known to be one of the best in this part of the world. The sound chamber (kaseh) is most often made of a solid piece of wood. In recent times, some builders use ribs like those used to make an oud to build the sound chamber, but what we see in this article is the traditional way and it works well. I wrote more about the solid-wood method in my article on constructing the tar in AL#10. Also, I wrote about making a sound chamber of ribs in my book about constructing the setar. Both of these are also long-necked plucked Persian instruments and they share many structural features. 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 25, 2026March 25, 2026 by Dale Phillips 1930 Santos Hernández Guitar with Segovia’s Autograph 1930 Santos Hernández Guitar with Segovia’s Autograph by Jeffrey R. Elliott Originally published in American Lutherie #115, 2013 A few years ago, after I had all but ceased accepting repairs in order to concentrate on my own commissions, I was asked to do a repair that I just couldn’t turn down. The owner had inherited a 1930 Santos Hernández classical guitar, which hadn’t been played in decades, and wanted to put it on the market. Universally recognized as one of the most revered of Spanish makers (so much so that he is simply referred to as “Santos”), Santos Hernández has long been one of my heroes of lutherie, and as I was confident that I could do what it needed, I gladly accepted. Santos Rodríguez Hernández (1874–1943) began building guitars in 1890, apprenticed to Valentín Viudes, and in 1895 joined the workshop of Manuel Ramírez where he refined his craft alongside Manuel for twenty-one years, and eventually became foreman. When Manuel died in 1916, Santos ran the workshop for Manuel’s widow for another five years. 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 February 20, 2026February 20, 2026 by Dale Phillips D’Aquisto’s Wedge Bridge D’Aquisto’s Wedge Bridge by John Monteleone Originally published in American Lutherie #113, 2013 James “Jimmy” D’Aquisto’s guitar design development falls into two epochs. The early period, beginning in 1965, is an obvious continuation of his teacher John D’Angelico’s instruments in nearly every aspect, with the exception of the D’Aquisto logo on the headstock. Jimmy’s clients were faithful to D’Angelico, and that’s exactly what they expected. Change would come gradually, even timidly, over a period of time as Jimmy learned his independence. Certain ideas about tradition and expectation expressed by his early clients stood in his way for a number of years, hindering his design development. In the 1950s and ’60s, archtop guitar players were not risktakers, and the market popularity of the archtop was being displaced by solidbody guitars and the new music of the day. Unlike the quick-changing shiny sheet metal of Detroit automobiles, annual adjustments to mainstream guitar designs for the annual trade shows were small and predicable. The few independent luthiers of the day would watch this market closely to see what they would need to offer in order to compete. 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 February 1, 2026March 3, 2026 by Dale Phillips Two Ancient Guitars Two Ancient Guitars by Don Alfieri Originally published in Guild of American Luthiers Data Sheet #82, 1978 A German guitar from the early 1800's. All photos by Schaub Photo. Reverse. An American guitar signed and dated: Schmidt & Maul, 1844, New York. Reverse.
Posted on February 1, 2026March 3, 2026 by Dale Phillips Resophonic Guitars Resophonic Guitars by Robert F. Gear Originally published as Guild of American Luthiers Data Sheet #20, 1975 Since the late sixties the National metal-bodied guitars and Dobros have become one of the hottest items among collectors, blues players and bluegrass enthusiasts alike. The Dopera brothers built the first National in 1926 and had it on the market in 1927. The Dobro was invented in 1928 and out by 1929. The first National was a triple resonator available in both round Spanish and all metal Hawaiian square-neck models; in addition, a tenor banjo/guitar was also made. The triple has a very mellow tone; and with two resonators under the bass and one under the treble, a stereo effect in produced. By 1929 a single resonator National was being offered; this had greater volume but a more strident tone. About this time the Dopera brothers formed a new company and began to sell Dobros. The name Dobro is a contraction of Dopera Brothers; it also means “Good” in the Slavic languages. 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.
