Posted on June 19, 2025September 12, 2025 by Dale Phillips Product Review: Colorado Soft Cases Product Review: Colorado Soft Cases by R.M. Mottola Originally published in American Lutherie #75, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 The item reviewed in the following paragraphs was purchased by the author at full price through normal sales channels. A draft of this review was sent to the manufacturer/seller prior to publication so that any factual errors could be corrected. Colorado Soft Cases High-quality soft instrument cases (gig bags) and case covers are readily available for most standard-size instruments. There are dozens of manufacturers of these off-the-shelf items, and it is pretty easy to find bags for your instruments in a wide range of price and quality. Since the inside dimensions of soft cases are, well, softer than those of hard cases, it is even likely that you can make an off-the-shelf case fit a nonstandard instrument, at least if the instrument is not too nonstandard. But if you’ve got something way out of the ordinary, you’ll need a custom-made bag for it. It is probably safe to say that any bag manufacturer will make cases to your specs if you order enough of them. If you make one-of-a-kind instruments and need just one though, the number of manufacturers that are willing to accommodate your needs drops precipitously. Colorado Case of Fort Collins, Colorado, (coloradocase.com) is one case company that does make custom cases in any quantity, and their cases are the subject of this review. First, a word or two about soft cases. Why would you want to use a soft case in the first place, when a hard case offers considerably better protection? Probably the most compelling reason is that your customers want the option. In my experience this is particularly the case if the instrument in question is either a solidbody instrument or is particularly large, like an upright bass. Solidbody instruments are pretty robust to begin with and so protection from scratches and abrasions may be all the user wants out of a case. Really large acoustic instruments are no less delicate than their smaller counterparts, but the weight of a large hard case can sometimes compel a user to trade off some amount of protection for some reduction in weight. 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 23, 2025June 20, 2025 by Dale Phillips Bog’s Way Bog’s Way An In-Depth Hands-On Review of John Bogdanovich’s Making a Concert Classical Guitar DVD Set by Tom Harper Originally published in American Lutherie #113, 2013 Almost all of my classical guitars built over the last decade have used Jeff Elliott’s open transverse brace design and been built with methods learned mostly from classes taught by Charles Fox. I’ve been very pleased with the results and work flow, but have been toying with the idea of temporarily leaving my lutherie comfort zone. John Bogdanovich’s ten-DVD set Making a Concert Classical Guitar looked like it could provide the change I was looking for. The introduction says the course is for experienced woodworkers, but I feel that anyone comfortable using the required tools and looking for an in-depth project will also enjoy it. Bogdanovich uses a broad repertoire of skills — lamination, bending with heat, carving, inlay, tool making, and more. Who would not benefit from experimenting with such a diverse set of activities? 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 July 7, 2024May 30, 2025 by Dale Phillips The Luthier’s Library The Luthier’s Library by Fred Battershell Originally published in Guild of American Luthiers Quarterly, Volume 3, #5 & #6, 1975 The Successful Craftsman — Making Your Craft Your Business by Alex Bealer Published by Barre Publishing Distributed by Crown Publishers, New York 288 pp. $9.95 Here is a book that promises a great deal and delivers nothing of lasting value; and in so doing, manages to betray it’s author’s profession: advertising. Yes, fellow luthiers, here is ad executive Alex Bealer telling you how to gain fame and fortune from your chosen craft. The blurb on the inside jacket cover of this book modestly advises the reader that this book... “answers some very tough questions facing the artist/merchant.” Questions such as how to find suppliers, how to market your product, how to price your wares, and where to work are alleged to be answered completely in this book. They are not. Like so much of the products produced by the advertising industry, this book is actually a systematic collection of half-truths and some very half-answers. 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 July 1, 2024May 29, 2025 by Dale Phillips Letter: Defending Larry Sandberg’s Book Letter: Defending Larry Sandberg’s Book by Harry Fleishman Originally published in American Lutherie #67, 2001 Dear Guild, Benjamin Hoff takes what seems like a pretty severe dislike to my friend Larry Sandberg’s book, The Acoustic Guitar Guide, from its title, to its tone, to its content. What many have enjoyed, the folksy tone Larry takes, offends Hoff. He’s certainly entitled to dislike it. However, he seems intent on nitpicking as a way of discrediting the author and his work. He quotes Sandberg and brackets “sic” after “epitome” as though the word or idea were used incorrectly, and he knew better. But the word and idea are correct as a quick glance at a dictionary will show. He objects to a brief history, but this is not a history book. He objects that Sandberg writes, “the steel-strung flattop is probably the kind of guitar you want. It’s the kind of guitar most people want.” Of course Sandberg is not psychic, but even a quick look at any store that sells guitars will show this to be true. The sales of steel-strung to nylon, or to any other kind is about ten to one. I think the problem is that Hoff doesn’t agree. He is entitled to that opinion, too. However, he neglects to write that in his discussion of classical guitars, Sandberg explains why one would or would not want a nylon strung guitar, who uses them, and what they do and don’t provide musically. I think that is sufficient. Hoff writes that the chapter about flattop guitars should be designated “factory” guitars. Yet, Sandberg writes separately about custom and handbuilt guitars. (Full disclosure: Two of my guitars are on the cover of this book and I’m very proud of that. Also, as a friend of Larry’s and a sometime author, I know the depth of his knowledge as well as the limitations, constraints, and hype-oriented zeal of the publishing world.) Certainly, the subtitle is a bit over the top. That’s publishing, folks. No book could be everything to all people and Hoff’s right: the subtitle shouldn’t say it can. That said, I think this one does what it purports: it guides potential players towards a guitar and helps guitar owners to maintain their instruments. As a reviewer myself I would not wish to see Hoff or anyone else censored in their reviews, nor to see only positive reviews. Sandberg’s book has received many other positive reviews. I disagree with Hoff’s assessment and wanted to add my voice to that discussion. ◆
Posted on June 6, 2024May 23, 2025 by Dale Phillips Questions: Yellow Pine Questions: Yellow Pine by Bob Gramann Originally published in American Lutherie #94, 2008 Scott Smith from the Internet asks: Has anyone made a guitar using heart pine (long leaf southern yellow pine)? I have some that was cut over 250 years ago. Bob Taylor of Taylor guitars passed on it, so I thought I might attempt to build one myself. It is a fairly dense wood with very high pitch content. Bob Gramann from Fredericksburg, Virginia responds: I made a small guitar with a top of southern pine which was recovered from a submerged crib dam that was built in 1854 and destroyed in 2004. In order to get enough close-to-quartersawn wood for the top, I had to make a 4-piece top. The pine was not nearly as stiff as the spruce I usually use, so I left it a bit thicker. The back and sides of this guitar were made with white oak from the same crib dam. The oak had turned grey from its long submergence, and the pine was green. It was a sweet sounding guitar but not as sweet as the two of the same style and size that I made from Engelmann spruce and Indian rosewood. If it were not for the historical interest, I would not have made a guitar of these woods. It was sold at auction as part of a fund-raiser for Friends of the Rappahannock. ◆