Posted on June 13, 2024January 21, 2025 by Dale Phillips Mike Longworth: Questions and Answers Mike Longworth: Questions and Answers from his 1978 GAL Convention lecture by Mike Longworth Originally published in Guild of American Luthiers Quarterly, Volume 6 ,#4, 1978 The Martin research department is much talked about. Can you tell us what effect, if any, it has on the production line? We had a full fledged research department back in the late 1960s and early 1970s. At that time, we were experimenting with tuning tops and bodies, and were taking measurements on different kinds of bracing. Two of the models that came out of that were the N-10 and N-20 guitars. The fellow who ran our research and development department went to Europe and his successor eventually became honcho of our sawmill operation. When we go to develop something new, like the new M-38 guitar, he definitely has a hand in it. We are not actively researching at the present time. 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 June 6, 2024January 17, 2025 by Dale Phillips Letter: Lutherie Tips and Stories Letter: Lutherie Tips and Stories by Philippe Refig Originally published in American Lutherie #93, 2008 Dear GAL, When I was at the former College of Furniture in London, one of the students was experimenting with the moulding of violin plates. Instead of carving the plates, he bent them with the help of steam and jigs. I regret not having paid more attention. This was the system that was used in England during the Renaissance for shaping the soundboards of certain viols. By using bending techniques, soundboards could be made thinner and stronger because the grain was following the curves, instead of being cut short as in the carving method. Viol soundboards were made of seven staves, all bent longitudinally and (except for the central one) laterally as well. Very little carving had to be done internally or externally, just some smoothing to shape. 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 June 6, 2024January 15, 2025 by Dale Phillips Opinion Opinion by Harry Fleishman Originally published in American Lutherie #74, 2003 As a builder of many years experience, I have my own methods and views. I try to teach, but more important, I try to learn. We each have our own approach and I’d never want to censor anyone’s right to spread their ideas. At this point in my career it is clear that some ideas may seem wrong, but only seem so because of my own limitations. That said, I do feel a need to respond to a recent article that purports to tell ``the truth,’’ exposing other views as false. John Calkin’s article “The Heretic’s Guide to Alternative Lutherie Woods” in AL#69 offers some very useful information about the working properties of a good assortment of materials. I appreciate the info and will refer to it as I build and teach. However, I think he does a disservice to many luthiers who have worked hard to train their ears and to understand tone. Yes, as John says, “Guitars sound like guitars.” They do not all sound alike, though, as he implies throughout the article. He asserts that, “The concept of tonewood is a hoax.” Then am I a charlatan? I teach that each tonewood has its own qualities that have small but discernible affects on the voice of a guitar. He asks, “Can you tell what a guitar is made of while listening to an unfamiliar recording?” and answers that no one can. Well, I often can. On more than one occasion I have correctly identified the woods used in guitars that I had not seen and was unfamiliar with. On many occasions I have even identified the luthiers who built guitars, based on listening to recordings and recognizing their “voice.” I’d be surprised if many well-trained, thoughtful, and sensitive luthiers cannot do the same. John should not assume that just because he cannot hear these subtleties, no one can. Many people are colorblind, but that does not negate the difference between red and green. 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 June 6, 2024January 16, 2025 by Dale Phillips Questions: Info on D’Angelico Questions: Info on D'Angelico by Linda Manzer and John Monteleone Originally published in American Lutherie #96, 2008 John Langdon from the Internet asks: I’m quite obsessed with D’Angelico and D’Aquisto guitars, and there are not many sources of info besides the GAL and the wonderful book Paul Schmidt wrote. Would you happen to know the maker of those elusive violin maker’s planes James D’Aquisto had? In one of the GAL books he said they were made by a company in Boston. Do you know if John D’Angelico used a jointer or a hand plane to join his plates? I’m also trying to find out more about the nitrocellulose finish D’Aquisto used. I’m curious if his finishes were alcohol based or not. Do you know if he had any preference for any specific brand of finish or colors? Linda Manzer from Toronto, Canada responds: I used the hand planes in question when I worked in D’Aquisto’s shop in 1983. I made copies of those planes for myself and sold a limited number of them a few years back as well. I plan to resume making them in the near future. They are fantastic. 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 June 6, 2024January 16, 2025 by Dale Phillips Letter: Facts Regarding Juan Serrano Letter: Facts Regarding Juan Serrano by David Macias Originally published in American Lutherie #86, 2006 Hi Tim, I enjoyed the R.E. Bruné piece on Manuel Reyes, and Cordoba in general in American Luthierie #84. My reason for writing is that there is a bit of misinformation on Juan Serrano. Maestro Juan Serrano’s father, Antonio Serrano, was known as Antonio Del Lunar. El Habichuela was and is someone else. Also the falseta recording played on the town clock is a Solea, and not a Siguiriyas, as stated. I asked Juan a few days ago, just to have my facts straight. He assured me that I was right. Maestro Serrano and I have been close friends for some twenty-six years. He has told me many stories about his life, his family, and his career. I am also very proud to say that Maestro Serrano was my flamenco guitar teacher for many years, and prouder yet that he has been playing his concerts on guitars that I constructed for him. R.E. Bruné responds: I appreciate David Macias’ additional corrections and information in response to my article. The quote about El Habichuela being Juan Serrano’s father and the teacher of Manuel Reyes came directly from the interview of Manuel Reyes in Flamenco International Magazine (July–September 1998, p. 19), and at the time I read it, it didn’t ring true to me either, as I know the large Habichuela Gypsy clan to be from the Sacromonte of Granada, not Cordoba. However, as there have been several unrelated artists over the centuries using the “Habichuela” name, I figured the anonymous interviewer’s direct quote would trump my own vague memory. Wrong! Mr. Macias is quite correct. I remember first meeting Juan Serrano around 1966, and he did mention his father was known as Antonio del Lunar (Antonio, he of the mole). I should have remembered this, as he is not to be confused with Perico el del Lunar who played for many years at La Zambra in Madrid and was the accompanist on the first anthology of Cante Flamenco issued by Westminster records in 1955. Likewise, my memory of the Cordoba clock tower music dates to my first visit to Spain in 1967, nearly forty years ago, and obviously is not as precise as I would prefer. This is the reason why for many decades now I have been photographing and making notes of all the great instruments that pass through my hands, as I knew it was only a matter of time when my sharp memory and dull tools would begin to change place. Thanks also and best wishes to Maestro Serrano, who is without doubt one of the great flamenco figuras of the 20th century. ◆
