Posted on June 11, 2026June 16, 2026 by Dale Phillips Experiments in Audio Spectroscopy Experiments in Audio Spectroscopy by John C. Moore Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 R.M. Mottola’s interesting article in American Lutherie #70 (Big Red Book of American Lutherie Volume Six) described the use of audio spectroscopy, with a simple home setup, for the analysis of bass guitars. I had read about a spectrum comparison of a Martin D-28 with a Kaman AA 14-4 in An Introduction to Scientific Guitar Design by Donald Brosnac, and have always been intrigued with the idea of capturing in an objective way the “quality” of the sound of different acoustic guitars. Also, my experience has been that seeing colors of nature is enhanced by having tried to paint them, and tasting beer is enhanced by having brewed some. I felt that analyzing sounds from a guitar would heighten the senses here as well. When I read the Brosnac book, written in 1978, the equipment utilized for the guitar comparison sounded exotic and expensive, and certainly beyond the capability of the casual hobbyist. In Mottola’s article, it was clear that the technology of the PC had brought the potential for such experiments within reach. In fact, I already had hardware that could get me started: a digital camcorder that I could extract wave files from and a Sony Vaio laptop. So I decided to have a go at some audio trials. 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 21, 2026May 21, 2026 by Dale Phillips Make a Dished Workboard, Freehand Make a Dished Workboard, Freehand by Ryan Schultz Originally published in American Lutherie #99, 2009 As a first-time guitar builder, I bought a kit from LMI and eagerly began to build my guitar. Very early in the process, I realized that I needed to obtain two radiused sanding dishes (30´ for the top and 15´ for the back) for various tasks as the Robert O’Brien DVD suggests. These sanding dishes are not cheap. They generally cost $60 to $80 each plus shipping. So I was determined to make the sanding dishes on my own if I could. My research showed that most people make a router jig with the appropriate profile (see AL#74). But I thought I could make a dish quicker and easier, with no jigs, basically routing it free hand. 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.
