Posted on July 8, 2026July 8, 2026 by Dale Phillips Measuring Resonant Frequencies of an Acoustic Guitar Measuring Resonant Frequencies of an Acoustic Guitar by Mark French Originally published in American Lutherie #143, 2021 Many luthiers track resonant frequencies of their acoustic guitars, often with the goal of meeting some target values. It’s common for the first two resonant frequencies of a full-sized acoustic guitar to be near 100Hz and 200Hz respectively. Some builders use detailed frequency measurements during the build process. For example, Greg Byers described his methods in his 2017 GAL Convention workshop (AL#134). Another good discussion is in Volume 1 of Contemporary Acoustic Guitar Design and Build by Trevor Gore and Gerard Gilet. Resonant frequencies are a function of the ratio of stiffness over mass. Specifically, frequency is proportional to √(stiffness/mass). This simple relationship is harder to apply at higher modes, but it describes the effect of the structure on the lowest modes well enough for us. In practice, it’s easier to reduce resonant frequencies than to increase them. Selectively thinning parts of the top or shaving braces reduces stiffness more than mass, and so tends to reduce resonant frequencies. It’s very uncommon for luthiers to add anything, either mass or stiffness, to their guitars in order to modify dynamic response, though it is certainly a valid thing to do. Trevor Gore is the only one who comes to mind, though there may be others I’ve not heard of. 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 June 12, 2026June 12, 2026 by Dale Phillips Let’s Catch Up With Graham Caldersmith Let's Catch Up With Graham Caldersmith by Juan Oscar Azaret Originally published in American Lutherie #132, 2017 Hop on a plane in Boston. Fly twenty-seven hours to Sydney, then connect on a prop plane to Port Macquarie on the coast of New South Wales. Rent a car (no, the steering wheel is not on that side, dummy), and drive 60KM southwest. (Stay to the left, the left, the LEFT!) Oops, here comes a traffic circle — drive around clockwise, cars on your right have the right of way, remember to exit left, and stay left. Why is that left wheel always grabbing the shoulder... where the heck is it, anyway? Now out of the city (whew!) and on beautiful Australian farmland — rolling green hills in the mild August winter. Past the logging town of Wauchope and the hamlet of Byabarra. The road narrows to a winding switchback climb up the steep slopes of Bago Bluff, and finally we find ourselves on a high plateau of rich farmland in the town of Comboyne, NSW, population two hundred. Comboyne is the home of luthier Graham Caldersmith and his partner Angela MacPherson (Photo 1). On a recent trip to visit our son in Australia, I took the time to spend a delightful day with Graham and Angela in their enchanting home/workshop/tea house where I learned much about lutherie and acoustics, and enjoyed their wonderful hospitality. 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 May 5, 2026May 5, 2026 by Dale Phillips Norwegian Spruce Norwegian Spruce by Leonardo Michelin-Salomon Originally published in American Lutherie #143, 2021 In 2017, the Norwegian Crafts Institute and the Norwegian Luthiers Association came together and held a seminar about spruce — and specifically Norwegian spruce — as tonewood. Different panelists explored the topic from different angles: Violin maker Magnus Nedregaard presented us with a historical perspective on the quality of the spruce seen on old violins, also in light of dendrochronological analysis; a retired biologist and forest researcher talked about wood technology in general and about the growth conditions in Italy’s Val di Fiemme area and how it might translate to Norwegian conditions; Roald Renmælmo, Assistant Professor at the Norwegian University of Science and Technology in Trondheim, introduced us to traditional Norwegian practices in selecting and harvesting spruce in small scale and for specific purposes; and we also heard the accounts of Karl Otto Mikkelsen, a biologist and violin maker used to looking for and harvesting Norwegian spruce for his instruments. Later, material samples were gathered so interested members could test them at will. As part of my fellowship research I wanted to make several copies of the same guitar. One of the reasons for this was indeed to test some of these different spruce samples and compare them to commercial grade spruce from the Alps, the kind we are all used to seeing and using. My work merely scratches the surface of the possibilities. 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 April 16, 2026April 16, 2026 by Dale Phillips Remembering Julian Bream Remembering Julian Bream by Cyndy Burton, José Romanillos, R.E. Bruné, Jeffrey R. Elliott, Kevin Aram, Gary Southwell, and Simon Ambridge Originally published in American Lutherie #142, 2021 Julian Bream was born on July 15, 1933, and died on August 14, 2020, one month after his 87th birthday. The accolades that followed were online and in print everywhere, and were consistently filled with superlatives praising his genius as a classical guitarist, his tireless commissioning and presentation of new guitar repertoire from notable contemporary composers, and his teaching and creating opportunities for the next generation of classical guitarists. But commonly overlooked in descriptions of Julian Bream’s achievements in his long career, are the fruits of his relationships with the handful of classical guitar makers he chose to build for him. He sought the best classical guitars possible to serve his musical purposes and, at the same time, inspired their makers to improve their art and craft. We are fortunate that those luthiers are represented here, and that they’ve offered memories of their interactions with Julian Bream. — Cyndy Burton 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 December 5, 2025June 8, 2026 by Dale Phillips Guitar Making as a Teaching Tool Guitar Making as a Teaching Tool by Debbie French and Mark French Originally published in American Lutherie #144, 2021 Guitar making can be many things. To some it is a craft; to some it is a livelihood. And it’s also being used as a compelling teaching tool around the country. We are part of a project called STEM Guitar that is funded by the National Science Foundation, which provides faculty professional development to high-school and community-college faculty and students around the country, so they can, in turn, use guitar making to teach technical subjects. In educational lingo, these are STEM subjects — Science, Technology, Engineering, and Math. We all know how important it is for students to learn at least the basics of STEM subjects. As luthiers, many of us routinely work with structural dynamics, acoustics, material properties, geometry, and computer-controlled machines. Modern guitar factories wouldn’t work without heavy investments of technology or without trained people. In 2009, industrial arts courses represented just 0.02% of credits taken nationally by high school students (U.S. Department of Education, 2009). However, when an updated report was released in 2013, industrial arts courses were not even included in the NCES reporting; such courses were replaced by engineering and design and manufacturing and technology courses were listed, which represent 0.7% and 0.6% of credits earned by high school students, respectively (U.S. Department of Education, 2013). The guitar program offers an engaging way of exposing students to industrial arts skills through STEM curriculum. 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.
