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Meet the Maker: Myles Gilmer

Meet the Maker: Myles Gilmer

by Todd Brotherton

Originally published in American Lutherie #26, 1991 and Big Red Book of American Lutherie, Volume Three, 2004



Would you give us some background on yourself?

The wood business that I’m doing now is an offshoot of what I was doing in the ’70s. My education was in medical research, but there weren’t too many jobs in that area, so I built furniture accessories and sold them to galleries and stores across the country for a few years. I lived in equatorial Africa in the early to mid ’70s. I was working in the wood business in Ghana and Liberia as a jack-of-all-trades, doing vehicle maintenance, repairing machine saws, and doing some cutting and milling. I spent a lot of time hiking in the forest. The trees are incredible there. I have photographs of a native hut next to a tree that was 220' tall and 12'–14' in diameter. People often imagine an African forest as being a jungle but it’s more like what we see here in the Northwest; an old growth high canopy forest, very open inside with not much secondary growth on the floor, and quite dark to walk through.

When I moved back to the USA, I quickly found that there weren’t great sources for the wood I was interested in. I had friends in Africa and started importing a little for my production line. We started importing more, and soon my competitors were interested in buying. I was still producing wood pieces, but getting tired of production woodwork. Over a two-year period I just switched from being a manufacturer to being a supplier.

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Meet the Maker: Michael Darnton

Meet the Maker: Michael Darnton

by Jonathon Peterson

Originally published in American Lutherie #27, 1991 and Big Red Book of American Lutherie Volume Three, 2004



How did your lutherie career get started?

I started playing cello when I was in 6th grade and immediately got more interested in the instrument than I was in the playing. When I was about twelve years old I got some money for Christmas from my grandmother. The very next day I ran out and bought Heron-Allen’s Violin Making, As It Was and Is, which I had spotted at a local bookstore. I talked to my mother a couple of weeks ago and she told me that she took one look at the book and thought, “This is a waste of money! He’s never going to do anything with it. It’s much too complex.” But she was wrong. I really surprised her.

It took awhile to get around to it, though. Five or six years later I bought a piece of wood and some tools. I started a violin, but I didn’t get very far. I just put the whole thing aside.

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Meet the Maker: Chuck Lee

Meet the Maker: Chuck Lee

by Steve Kinnaird

Originally published in American Lutherie #95, 2008



Chuck Lee, versatile fellow that he is, has worn a number of hats over the years. For more than three decades he has been in the plumbing trade, and for the last fifteen has held a Texas Master Plumber’s license. (And he has the dust collection system in his shop to prove his prowess with the pipes.) For seven years he worked with Wycliffe International, an organization engaged in translating the Bible into tribal languages. Currently he’s at the helm of Chuck Lee Banjo Company. Located just south of Dallas, this small firm turns out over eighty open-back banjos a year.

Recently, Chuck took an afternoon off from his busy schedule to talk about his work. It was a pleasure to visit with my friend, and learn more of his story. Plus, his tidy shop and efficient use of space are always an inspiration. About halfway through we were joined by his wife Tammy, and the conversation really got interesting.

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Meet the Maker: Jose “Pepito” Reyes Zamora

Meet the Maker: Jose “Pepito” Reyes Zamora

by C.F. Casey

Originally published in American Lutherie #88, 2006



I first met Pepito Reyes by phone, when I called him to ask some questions for my review of his book El Tiple Puertorriqueño. About a year later, I had a chance to meet him face to face, at the Tiple Conference in Mayagüez, Puerto Rico and later at his home and workshop in Jayuya. As we talked, I gained more and more respect for a man who, after ending one successful career, immediately created a second: to dedicate himself to giving back to the environment and culture that nurtured him. Pepito is a man filled with passion for his cause, which is to ensure that traditional Puerto Rican culture, especially its music, and more especially yet, the Puerto Rican tiple, will not vanish into the mists of time.


When did you build your first tiple?

I built it in 1989 and I still have it; it’s in good shape. It’s traveled to Texas, Florida, and France, and it’s been used in recordings.

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Ed Arnold: String-Tie Kind of Guy

Ed Arnold: String-Tie Kind of Guy

by Nicholas Von Robison

Originally published in American Lutherie #7, 1986 and Big Red Book of American Lutherie, Volume One, 2000



Ed Arnold is a crew-cut and string-tie kind of guy. I met him while crewing aboard his son-in-law’s thirty-two foot sloop Iolaire on definitely not a crew- cut and string-tie kind of day. As a storm scudded down on us and I ejected my lunch off to leeward, I watched Ed go forward with the lithe grace of an athlete to hank on the storm jib on that bucking bronco of a foredeck.

Ed turned sixty-seven in June. He’s the kind of guy you can picture being at home on a rugged wilderness trail or negotiating a mountain pass on a donkey, and making it look easy. In his sixteen years as an exotic wood importer I’m sure he has ridden a few donkeys and walked a few dusty miles. A one-man operation, he went into Mexico and Central America, selected his trees, oversaw their handling and production, then shipped them home by container. He knows wood in a way that few luthiers ever will, our work beginning with the end result of Ed’s labors. I obtained some answers to things I have pondered over from time to time and even some I haven’t. Anybody know the Mexican name for mahogany? Zopilozontecomacuahitl.

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