Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Romanillos Seminar Letter: Romanillos Seminar by Stephen Frith Originally published in American Lutherie #68, 2001 Dear Tim, I joined the GAL a couple years ago, and this philosophy of openness, sharing, and frank exchange is right on the ball. I saw a free ad in American Lutherie: “Master-classes in Spain, make a guitar with José and Liam Romanillos.” A chance of a lifetime? The Romanillos family hosted a fortnight working holiday, which was busy, friendly, happy, and constructive. Set in the Sigüenze hillsides, we were the comfortable guests of the Hermanos Maristas. In the spirit of openness and sharing, José and Liam helped us consider each piece of wood, as we made our guitars. A quote: “If we know, we tell you.” Based on José‘s first successful instrument in the Spanish tradition of Torres, our work was guided with strategies and beliefs. Secrets don’t exist in good news. On the front bench were all the planning forms and construction templates needed to make a Romanillos and Son guitar, and copying of these was firmly encouraged. The method was straightforward, sensible, and uncomplicated, one that can be easily replicated in my own workshop. I’ve brought home my own Frith/Romanillos. Sounds great! Speaking as an old London College of Furniture boy, I have to say the Sigüenza 2001 course was brilliant. The cost was reasonable, and returning next year for some fine-tuning would be exciting for a full-time luthier like me. I hope it runs and runs, there is always more to learn. It was great to meet members from all over: Texas, California, Canada, England, Switzerland, Germany, Belgium, Spain, and Japan. Sigüenza 2002? Go for it! ◆
Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Scott Chinery Letter: Scott Chinery by Bob Benedetto Originally published in American Lutherie #64, 2000 Dear Tim and Fellow GAL members, My plane just took off from Newark Airport; I’m on my way home to Tampa and thought I would drop you a line. Yesterday I attended the funeral services for Scott Chinery, a man who, in a very big way, touched the lives of so many people. A book can be written (and no doubt will be) on his accomplishments and good deeds. I’ll leave that to the professional and more eloquent writers. Over the years, we have all encountered people who influence and support us, but I can think of no individual who has had such a profound impact on our careers and lives as Scott Chinery. Scott’s Blue Guitar Collection is the most famous guitar collection in the world. It is comprised of archtop guitars made mostly by people who would have otherwise remained in obscurity. Some have probably not made an archtop since and most will never make a living as an archtop maker. Scott Chinery gave us all so much — he put money in our pockets and gave us international acclaim as the finest luthiers in the world. He did for us what none of us could have done for ourselves. Our guitars were on exhibit at the Smithsonian Institution not because of our skills as luthiers, but because Scott Chinery commissioned us, then kicked down the doors and forced the world to take notice — a talent none of us have. He will be missed. ◆
Posted on July 1, 2024May 29, 2025 by Dale Phillips Letter: Disliking Kasha’s Criticisms Letter: Disliking Kasha’s Criticisms by Jason DuMont Originally published in American Lutherie #64, 2000 Dear Tim/Guild, In Michael Kasha’s letter in AL#62, he took what I consider a jab at Mr. Ramírez, stating that Ramírez’ 1986 article “Bars and Struts” (Big Red Book of American Lutherie, Volume One, p. 292) “show[ed] how far the luthier’s intuition can be from the mechanics of the instrument.” In typical Kasha fashion, he started with his findings that will soon be published, yada yada, yada. I also read an article in Discover magazine in which Mr. Kasha says that “a prominent builder whose design came to him in a dream, will be surprised when our findings show his guitar has no bass.” It was obvious to anyone in the lutherie community that he was talking about Thomas Humphrey’s Millennium guitar. My first instinct was to start bashing the Kasha design, his personality, and the pseudo-science behind his ideas. But it dawned on me that this is a perfect chance for me to contribute to the Guild in a positive way. You see, I’m just an amateur luthier, having built only six guitars. I’ve felt I have nothing of technical worth to offer. I am, however, a professional sales representative for the largest musical wholesaler in the country. I can offer some advice to Mr. Kasha as he tries to “sell” his design theories to other luthiers, players, and instrument brokers. Never, never criticize a competitor’s product. It is so low brow! Even if your comments are true, you come across as a negative person and negativity always repels people. If your product is superior, trust that it will speak for itself and others are smart enough to see it. For example, after reading his comments I plan on using the blueprint of the Kasha guitar that I bought from Luthiers Mercantile as a decorative cover for a computer table that I had accidentally spilled India ink on, rather than giving his ideas a go. My loss? Perhaps. But Mr. Kasha’s rudeness simply turns me off. Incidentally, seeing as how he has commented on Mr. Ramírez’ faulty intuition, I’m compelled to ask how many instruments Mr. Kasha has crafted with his own two hands to develop his superior knowledge of guitar mechanics. Surely tactile input from actually working the wood has had some place in his ground breaking theories, hasn’t it? ◆
Posted on June 30, 2024May 14, 2025 by Dale Phillips Meet the Maker: Bernard Millant Meet the Maker: Bernard Millant by Jonathon Peterson Originally published in American Lutherie #86, 2006 In 1973 I was a dance student at Juilliard, in New York. One of the best parts of going to school there was walking past the practice rooms and hearing some of the finest student musicians in the world at their work. One day I passed a couple of violin students who were inspecting a bow that one of them had recently acquired. I heard the other student gasp, “How much? $2,400?? I can’t believe it! What a deal!” I was living hand-to-mouth, and I was shocked. I knew that fine violins were expensive, but $2,400 in 1973 dollars for a hank of hair and a stick? Then the blinding light of stupidity hit me, and I realized that without a bow there is no violin, no cello, no viola, no orchestra, and none of the musical literature which relies so heavily on those instruments. I have been curious about bow construction ever since. Paul Schuback hosted the 2004 Violin Society of America Meeting and Competition in Portland, Oregon. When he invited me to attend and gave me the opportunity to meet Bernard Millant, an internationally recognized authority in the field of bow making, I jumped at the chance. Mr. Millant was both lecturing and judging, so he was a very busy man during the conference, but he was kind enough to meet with me one evening in his hotel room and tell me a little about his life in the craft. 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 June 30, 2024May 14, 2025 by Dale Phillips Meet the Maker: Dmitry Zhevlakov Meet the Maker: Dmitry Zhevlakov by Federico Sheppard Originally published in American Lutherie #89, 2007 I first became acquainted with the name of Russian luthier Dmitry Zhevlakov when I received an inquiry from a guitar maker looking for veneers to duplicate one of his famous rosettes. After some research, I discovered that Dmitry is well known in some parts of the world, such as Paraguay and Australia. In the Soviet days, Dmitry’s family was extremely limited in who they could do business with, but the Internet has done wonders to increase his contacts. Although I attended medical school in Russia before the iron curtain came down, I don’t really speak Russian. Dmitry and I communicate through a translation program, and sometimes interpreters. And his English is getting better all the time. I was impressed with Dmitry’s guitars as well as his decorative work. I decided to visit his shop in Tula, Russia. And when the guitarist I was traveling with had his guitar damaged by the airline, I found that Dmitry’s skills extended to guitar repair too! 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.
