Posted on March 2, 2024May 6, 2025 by Dale Phillips This is My Life This is My Life by Phil Boulding Originally published in Guild of American Luthiers Quarterly 6, #2, 1978 I have been building instruments for nearly seven years now, starting in the basement of my parents house in Boulder, Colorado, fresh out of high school, building guitars. I had only the aid of Sloane’s book, a spare-time guitar maker friend, and the experience of working with a cabinet maker for a while. Things were very slow for the first 2 years, until I got introduced to dulcimers — especially the hammered dulcimer. As soon as I started building and playing these, (it didn’t take me long to learn, as I have been playing most of my life) what appeared to be a hobby turned into a livelihood, which took another year to get on its own feet. That’s when I moved to Seattle (November ‘74) and as far as I know, I was the first hammered dulcimer builder here. Since then this heart-warming little instrument has blossomed and flourished in this city, mostly thanks to street players in the Market and Pioneer Square. Then about 1 1/2 years ago, a secret and long submerged inspiration began to surface — my love for the harp. I began taking lessons then, and shortly thereafter began building small 3-octave harps of various designs and styles. Only just last week did I finally graduate to my first large Irish Minstrel Harp, nearly 5 octaves worth, with an exquisite sound. I used my imagination to figure out how to extend the soundboard like they do in some of the larger concert harps. The rest of it is pretty much patterned after the minstrel harp in Gilds Jaffrenou’s book, Folk Harps. Pictured in my first attempt as a Romanian Cymbalom (a successful one at that!) which I designed and build in collaboration with Ian Mihai, a master of the concert cymbalom from Romania who came with 2 others to teach their music at the University of Washington here. Since I have very little connection with the University, I was very fortunate to be introduced by a student-friend. The concert cymbalom is what I would consider to be the ultimate hammered dulcimer — nearly 5 octaves in range, fully chromatic, with a very unusual arrangement of half-steps. It also features a damper mechanism, a necessity for the Romanian style music, on such a loud and ringing instrument. My instrument was scaled down approximately 3/4 size, ranging 3 1/2 octaves; patterned after the concert cymbalom temporarily in use at the university. A magical-majestic sound, the music of which I am still a novice. I am more in command of the traditional Irish music on the diatonic hammered dulcimer (along with some contemporary arrangements). 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 July 26, 2023June 11, 2025 by Dale Phillips In Memoriam: Rick Turner In Memoriam: Rick Turner July 30, 1943 – April 17, 2022 by GAL Staff, David Bolla, and Steve Klein Originally published in American Lutherie #147, 2022 Rick Turner epitomized the imagination, courage, and determination of a lot of people in the Lutherie Boom generation, people who dove into guitar making before there was detailed resource material, before there were sources of parts and specialized tools, before there was a supportive community of generous and knowledgeable makers. He joined the GAL early on and spoke at our 1980 Convention in San Francisco, then again, twenty-four years later, at our 2004 Convention in Tacoma. He wrote a long-running column for American Lutherie called “Electronic Answer Man” in the 1990s. See this issue’s Web Extras for photos and links. — GAL Staff Photo by Jonathon Peterson. My first Guild of American Luthiers Convention was in Tacoma, Washington, in 2004. I stood outside the auction preview room, speaking with a small group of young luthiers around my age. I hadn’t been to Roberto-Venn yet. In fact, I got the call I had been accepted to the guitar-building school while at the convention. I was just there to learn as much as possible as I considered a future career path. As we stood there, a man wearing a Mickey Mouse T-shirt under a sport coat approached. He kindly took time to speak with us for a while about guitars, sharing his opinions on some of the topics we were discussing. He was much older than anyone else in the group, but it wasn’t noticeable by his demeanor. Only his graying hair and weathered face informed us of his age. He hung out for nearly twenty minutes, laughing and smiling with the rest of us. The following day, I attended the final lecture of the week. It was highly anticipated, as Rick Turner, one of the great legends of the trade, would be speaking about his vision of the future of the industry and innovations on the horizon. I was in awe as the man who had casually joined our conversation the day before took the stage, commanding the audience as a giant of the craft, larger than life. I only met him that one time, but it was a formative encounter. It was humbling to have someone who had such influence on an industry stop to speak with kids who were just entering it. I’m saddened to hear of his passing, but I am happy I had the chance to speak with a man, if only for twenty minutes, who had such an immense impact on music and instruments. — David Bolla I first met Rick Turner fifty years ago at a Prune Music guitar show in Mill Valley. From then on, his door was always open. I will miss his open information sharing. For instance, I first heard about cyanoacrylate glues from him, long before Krazy Glue was even a product. I’ll miss the synchronistic hook-ups that just seemed to happen around him. In the late ’80s he introduced me to Gibson’s new CEO, and that led me to reconnecting with Ned Steinberger and the creation of the headless project which continues today. In Rick’s shops over the years, I’ve met musicians and craftsmen; many I now call friends. I will also miss his forever-forward thinking. Just how do we accomplish the task at hand? He made the sub-bass string pickup for the first electric harp guitar that I built for Michael Hedges. Rick was a pragmatic, unapologetic self-promoter, but he held the door open for so many of us to pass through, with a smile and with encouragement. The passing of my old friend helped me remember just what his friendship, his ideas, and the sharing of his research has given me. He was the glue. — Steve Klein Young Rick Turner, 1966. Photo courtesy of Rick Turner. Lecturing at the 1980 GAL Convention in San Francisco. Photo by Dale Korsmo. At the Healdsburg Guitar Festival, 2000. Photo by Jonathon Peterson. Lecturing at the 2004 GAL Convention in Tacoma. Photo by Jonathon Peterson. Rick Turner (left) at GAL HQ after the 2004 GAL Convention in Tacoma. Also in this photo: Tini Burghardt, Richard Glick, Todd Rose, Geza Burghardt, Cyndy Burton. Photo by Hap Newsom. Rick Turner was an active GAL author. Follow this link to see a complete listing of his articles. https://www.search.luth.org/tag/turner%c2%b8-rick/ An interview from 2007 on the NAMM website. https://www.namm.org/library/oral-history/rick-turner Story on Rick Turner Guitars website. https://www.rickturnerguitars.com/stories-father-boutique-guitars Beau Hannam Remembers Rick Turner Published online by Guild of American Luthiers, 2022 I only met Rick Turner once, in Oct 2021, and I found him delightful. He greeted me with a hug. That surprised me; it’s not common for a guy his age on meeting someone for the first time. I admire flora drawings, and a few months prior I had commented on his post where he proudly showed his ex-wife’s book of trees with amazing illustrations by her (Eye Spy a Tree: Welcome to the Arboretum by Amber R. Turner). I guess he remembered that comment, as while we were talking in his office about guitar history and what we love in lutherie, he reached down and gave me a copy of the book. Unaware of his history with Alembic, the Grateful Dead or his Model 1 guitar, I first came to know Rick through his posts on various forums and Facebook and his often-forceful advice, particularly on the advocacy of the use of hot hide glue and epoxy. Indeed, his “glue list” remains an unequaled educational resource on which glues to use and where to use them. It is strange when a giant dies as it forces us to realize the importance of knowledge gained over a decades long career and that some of it is now lost. Looking back, I realize some of my fundamental building principles have been influenced by his teaching: His back-slanted saddle (about 7 degrees), carbon fiber in various areas, and his use of epoxy in building, especially for large surface glue-ups like fingerboards are all based on rock-solid common sense. He was forceful at times for the same reason any person who has been a luthier for decades is when they give advice to someone starting out in the industry who hasn’t yet the capacity for listening or learning. It is truly frustrating and something teachers have dealt with since the first sea creature crawled onto the land, looked back, and suggested to the second sea creature that they follow. But sometimes people, be they our children, friends, or strangers we try to give advice to, can only grow through pushing through a problem then seeing, acknowledging, and understanding the warned-about folly for themselves. Seeing, acknowledging, and understanding are the steps the mind needs to take and some people need to live them all fully. It is probably best to work through each step on your own, but being giving an Easter egg of advice which allows you to jump to the understanding part is a gift often not accepted, and rarely seen as the gold that it is. We are surrounded by fools gold on the internet. But Rick’s advice was always 24k. Since the advent of social media, I have seen a pattern. Lutherie and Life’s nuggets of wisdom are most often found not in systematically structured philosophical essays; they are found in what seems at first glance insignificant posts, in tiny ad hoc responses to a some other question, and in the beauty of a short, well reasoned and decisive answer to a seemingly unrelated topic. Search for the small things, in the big things. And vice-versa. Sayonara Rick. Don’t get epoxy on those heavenly clouds. — Photo courtesy of Beau Hannam
Posted on July 25, 2023May 12, 2025 by Dale Phillips In Memoriam: Chris Herbert Chris Herbert Nov. 22, 1955 - May 30, 2022 by The Herbert Family Published online by Guild of American Luthiers, July, 2023 Chris Herbert was probably Denver’s premier guitar repairman. He moved to Denver in 1980 from Columbus, Ohio, with excellent woodworking skills and a love of music. He was mentored at the now defunct Feretta’s Guitar Store where he learned his craft and began his career. He took to it very quickly and became the go-to luthier for almost every guitarist who played vintage instruments in Colorado. He worked on guitars for countless Colorado musicians, including the Nitty Gritty Dirt Band, Hot Rize, The Nacho Men, The Mother Folkers and many, many others. When touring musicians came to town, he was always the one they called — Jewel, Mason Williams, Andy Gibb, Duke Robillard, the Subdudes. When Mason Williams asked how much he owed, Chris said, “Just play me Classical Gas!” That was Chris. All photos courtesy of the Herbert Family except as noted. He worked mainly on S. Broadway, but in his later years, preferred to work out of his home. He built a few custom instruments in the early days, and his second custom guitar is now owned by Nick Beier of San Diego. He also collected Golden Era Martin and Gibson guitars which are now worth a fortune; many of these went into his friends’ collections. His favorite guitar was the Blackguard Telecaster. Everyone who knew Chris commented on his love of old instruments and the care that went into fixing their myriad problems that developed over the years. He was a perfectionist and it showed. For years, he was a certified Martin repair person and had an excellent relationship with Martin and their longtime employee and historian David Musselwhite. Chris called himself a humanist and felt a strong sense of compassion for displaced and oppressed people. He cherished his abundant friendships with local and nationally recognized musicians, good buddies, and neighbors, and his close ties to his siblings. Chris was a fan of other builders, including Denny Stevens. Denny also lived in Colorado, but tragically developed ALS and passed away in 2009. Chris owned a 1973 Denny Stevens guitar, which was the last guitar in Chris’ estate. The Herbert Family kindly donated it to the Guild of American Luthiers, in memory of master luthier Chris Herbert. It was sold in the Guild’s Benefit Auction in July 2023, the proceeds of which go to further the Guild’s mission of information sharing among luthiers like Chris. — At the 2023 GAL Convention Benefit Auction. Photo by Steve McElrath.
Posted on May 1, 2023March 23, 2026 by Dale Phillips Fall Collection 2024 Articles Online Fall Collection 2024 GAL Members – Login first before clicking on article titles to read the full articles. Not a member? You can join or renew here. Radiation from Lower Guitar Modes by Graham Caldersmith (1985) Caldersmith discusses the efficiency and pattern of sound radiation in the classic guitar produced by the four lower resonance modes, which he calls monopole, cross dipole, long dipole, and tripole. Inside Pacific Rim Tonewoods by Steve McMinn (1993) McMinn’s lutherie wood business has turned out to be a pretty big deal. Here we gain perspective by seeing it at the very beginning. The Great White Sitka by Jeffrey R. Elliott (1993) Holy Moby Spruce! How does one hack a log that’s eleven feet wide into 4000 guitar tops? Very carefully! By the way, this is a log that Steve McMinn rescued from the pulp mill. Meet the Maker: Bernard Millant by Jonathon Peterson (2006) Millant is a violin maker, a bow maker, an appraiser, an author, and a man of high repute within the violin world. The depth of training behind many old-school fiddle people will astonish most guitar makers, and it makes for entrancing reading. Meet the Maker: Dmitry Zhevlakov by Federico Sheppard (2007) This is not only the story of a Russian luthier who also makes beautiful rosettes for other builders, but is another example of how the Internet has changed the world — in this case for better. Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years by James Condino (2007) Every luthier knows how fickle and finicky the market is, so it’s no wonder that musical instruments made of aluminum didn’t catch on. Examined here are a violin, a mandolin, and a pair of bass viols. Fun stuff! Mechanical Compliance for Soundboard Optimization by David Hurd (2007) Hurd believes that the fastest way to great instruments is science, and it’s hard to argue with such a rational man. His jigs measure the deflection of top plates while under tension, and once he carves the top and braces to the numbers he wants, he’s done. This could be math heavy, but he offers an Internet spread sheet to ease the pain. Construction of the Colombian Tiple by Anamaria Paredes Garcia and R.M. Mottola (2007) Cross a 12-string flattop with a classical guitar and you get the Colombian tiple. The tiple has four courses of three steel strings, but on the inside, it’s a classical. Follow Alberto Paredes as he builds the instrument in this photo tour. See GAL Plan #51. Meet the Maker: Mervyn Davis by Rodney Stedall (2007) Davis’ South African upbringing inspires a wonderful decorative sense in his instruments. He’s built a ton of different stuff but may end up best known for his wildly unique modular guitars called Smooth Talkers. Cricket: A Reclaimed Salvage Recovery by James Condino (2007) Condino’s mandolin is made from recycled materials, mostly Douglas fir and katalox. It is unique and beautiful, and the story behind it is pretty cool, too. Grading on the Curves: Fitting Bars and Bridges on Archtop Guitars by Steve Andersen (2007) This is a very detailed look at how a notable builder of archtop guitars fits tone bars and bridges to his instruments. The Venezuelan Cuatro by Aquiles Torres (2008) Traditionally, this instrument is a small 4-string guitar with 14 frets clear, no frets over the body, a flush fretboard, and a large veneer tap plate. Note that the cuatro built for the article has 17 frets clear of the body. See GAL Plan #58. The MacRostie Mandolin Deflection Jig by Don MacRostie (2008) MacRostie’s clever jig measures the top deflection of a carved mandolin under string load at any stage of its construction. It is a valuable tool within the reach of any luthier. The “Corker” Guitar: A Sideport Experiment by Alan Carruth (2008) Carruth built a classical guitar with many small ports drilled in the side. By plugging the ports in various combinations he investigated the usefulness and physics behind them. Though this guitar did not make a believer out of him, he admits that his results are somewhat inconclusive. Electric Guitar Setup by Erick Coleman and Elliot John-Conry (2009) Two disciples of Dan Erlewine explain the latest techniques of setting up the electric guitar. All the details and specs are there, as well as a bit of philosophy. Dulcimer 101 by John Calkin (2009) Dulcimers are needlessly maligned and in need of advocates, and the author is a strong one. Tools and jiggery are kept to a minimum to make construction of this entry level instrument as accessible as possible. The Guitar as a Structure and Some Practical Information on Bracing by James Blilie (2009) A structural engineer and guitar builder sees the guitar as a thing buffeted by forces and stresses. Total Flame Out: Retopping a Harp Guitar by Harry Fleishman (2009) Harry replaces the failed soundboard on a complicated instrument with as little refinishing and other stress as possible. Strings: The (Often) Forgotten Accessory by Fan Tao (2010) D’Addario's resident scientist Fan Tao helps us understand string issues in relation to custom instruments and customized tuning. Practical Acoustics by Michael Cone (2010) Cone describes his advanced apparatus and method for acoustically testing classical guitars. Meet the Maker: James Ham by Roger Alan Skipper (2010) Ham operates from a shop in Victoria, B.C. where he repairs and restores violin family instruments and constructs world class double basses. It’s All About the Core or How to Estimate Compensation by Sjaak Elmendorp (2010) Mathematics and parameters used to address the problem of string compensation estimation. Articles Online Fall Collection 2024 Radiation from Lower Guitar Modes by Graham Caldersmith (1985) Caldersmith discusses the efficiency and pattern of sound radiation in the classic guitar produced by the four lower resonance modes, which he calls monopole, cross dipole, long dipole, and tripole. Inside Pacific Rim Tonewoods by Steve McMinn (1993) McMinn's lutherie wood business has turned out to be a pretty big deal. Here we gain perspective by seeing it at the very beginning. The Great White Sitka by Jeffrey R. Elliott (1993) Holy Moby Spruce! How does one hack a log that’s eleven feet wide into 4000 guitar tops? Very carefully! By the way, this is a log that Steve McMinn rescued from the pulp mill. Meet the Maker: Bernard Millant by Jonathon Peterson (2006) Millant is a violin maker, a bow maker, an appraiser, an author, and a man of high repute within the violin world. The depth of training behind many old-school fiddle people will astonish most guitar makers, and it makes for entrancing reading. Meet the Maker: Dmitry Zhevlakov by Federico Sheppard (2007) This is not only the story of a Russian luthier who also makes beautiful rosettes for other builders, but is another example of how the Internet has changed the world — in this case for better. Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years by James Condino (2007) Every luthier knows how fickle and finicky the market is, so it’s no wonder that musical instruments made of aluminum didn’t catch on. Examined here are a violin, a mandolin, and a pair of bass viols. Fun stuff! Mechanical Compliance for Soundboard Optimization by David Hurd (2007) Hurd believes that the fastest way to great instruments is science, and it’s hard to argue with such a rational man. His jigs measure the deflection of top plates while under tension, and once he carves the top and braces to the numbers he wants, he’s done. This could be math heavy, but he offers an Internet spread sheet to ease the pain. Construction of the Colombian Tiple by Anamaria Paredes Garcia and R.M. Mottola (2007) Cross a 12-string flattop with a classical guitar and you get the Colombian tiple. The tiple has four courses of three steel strings, but on the inside, it’s a classical. Follow Alberto Paredes as he builds the instrument in this photo tour. See GAL Plan #51. Meet the Maker: Mervyn Davis by Rodney Stedall (2007) Davis’ South African upbringing inspires a wonderful decorative sense in his instruments. He’s built a ton of different stuff but may end up best known for his wildly unique modular guitars called Smooth Talkers. Cricket: A Reclaimed Salvage Recovery by James Condino (2007) Condino’s mandolin is made from recycled materials, mostly Douglas fir and katalox. It is unique and beautiful, and the story behind it is pretty cool, too. Grading on the Curves: Fitting Bars and Bridges on Archtop Guitars by Steve Andersen (2007) This is a very detailed look at how a notable builder of archtop guitars fits tone bars and bridges to his instruments. The Venezuelan Cuatro by Aquiles Torres (2008) Traditionally, this instrument is a small 4-string guitar with 14 frets clear, no frets over the body, a flush fretboard, and a large veneer tap plate. Note that the cuatro built for the article has 17 frets clear of the body. See GAL Plan #58. The MacRostie Mandolin Deflection Jig by Don MacRostie (2008) MacRostie’s clever jig measures the top deflection of a carved mandolin under string load at any stage of its construction. It is a valuable tool within the reach of any luthier. The “Corker” Guitar: A Sideport Experiment by Alan Carruth (2008) Carruth built a classical guitar with many small ports drilled in the side. By plugging the ports in various combinations he investigated the usefulness and physics behind them. Though this guitar did not make a believer out of him, he admits that his results are somewhat inconclusive. Electric Guitar Setup by Erick Coleman and Elliot John-Conry (2009) Two disciples of Dan Erlewine explain the latest techniques of setting up the electric guitar. All the details and specs are there, as well as a bit of philosophy. Dulcimer 101 by John Calkin (2009) Dulcimers are needlessly maligned and in need of advocates, and the author is a strong one. Tools and jiggery are kept to a minimum to make construction of this entry level instrument as accessible as possible. The Guitar as a Structure and Some Practical Information on Bracing by James Blilie (2009) A structural engineer and guitar builder sees the guitar as a thing buffeted by forces and stresses. Total Flame Out: Retopping a Harp Guitar by Harry Fleishman (2009) Harry replaces the failed soundboard on a complicated instrument with as little refinishing and other stress as possible. Strings: The (Often) Forgotten Accessory by Fan Tao (2010) D'Addario's resident scientist Fan Tao helps us understand string issues in relation to custom instruments and customized tuning. Practical Acoustics by Michael Cone (2010) Cone describes his advanced apparatus and method for acoustically testing classical guitars. Meet the Maker: James Ham by Roger Alan Skipper (2010) Ham operates from a shop in Victoria, B.C. where he repairs and restores violin family instruments and constructs world class double basses. It’s All About the Core or How to Estimate Compensation by Sjaak Elmendorp (2010) Mathematics and parameters used to address the problem of string compensation estimation.
Posted on April 21, 2023May 14, 2025 by Dale Phillips Meet the Maker: Henry Stocek Meet the Maker: Henry Stocek by John Calkin Originally published in American Lutherie #62, 2000 and Big Red Book of American Lutherie Volume Six, 2013 There is a host of nonluthiers without whom lutherie would suffer. I refer to the makers and suppliers of the products that eventually comprise our instruments — the wood, trim items, pickups, cases, hardware, and finish products that make instruments more functional and more interesting. It should come as no surprise that most of these folks are as fascinating and dedicated as any luthier. We’ve met a few of them in these pages before, and I hope to give more of them the exposure they deserve. First up is Henry Stocek, the celluloid guru who introduced us to the art of turtleoid creation (see Reinventing the Celluloid Tortoise). He created Deep River Vintage Instrument Supply to furnish the trade with imitation tortoiseshell pickguard stock that was reminiscent of the color and patterns used in the ’30s. Other items are on the way. 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.
