Posted on July 7, 2024May 14, 2025 by Dale Phillips The Case For KTM The Case For KTM by Michael Turko Originally published in American Lutherie #72, 2002 For ten years now I have been building custom guitars, and I have been using KTM waterborne lacquer as my only finish coat for most of that time. I believe it is an excellent choice for the small custom builder for a variety of reasons. ▶ There is no offensive odor or noxious fumes to create problems in residential neighborhoods. ▶ It may be applied by hand without sprayers or other specialized equipment. ▶ It dries extremely fast, and may be buffed to a high gloss within hours (or less) instead of days. ▶ It builds much faster than solvent-based lacquers, and many coats can be applied on the same day. ▶ No special pore or grain fillers are required. ▶ It dries absolutely clear without adding any tint or shade of its own (although tinting maybe added if desired). 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 13, 2024May 14, 2025 by Dale Phillips Carmel 1978: What it Was Carmel 1978: What it Was by David Russell Young Originally published in Guild of American Luthiers Quarterly, Volume 7, #1, 1979 The Carmel Classic Guitar Festival (Nov. 3, 4, & 5) provided a valuable opportunity to exhibit guitars to a large number of interested amateurs and accomplished professionals, as well as a chance for interaction among the luthiers. Several guitars were sold or commissioned as a direct result of the exhibition. It was at the previous festival (May ’77) that I first met Jeff Elliott and was talked into joining the G.A.L. Prior to that time, I had worked pretty much in isolation and assumed it would always be like that. Now, through the G.A.L. conventions, the Carmel Festivals, and the friendships that grew out of them, I have a feeling of community with an expanding network of colleagues. The technical information and materials sources that have come out of this have been as valuable as the personal contact has been enjoyable. Another factor, pointed out by Steve Klein, is that being in the G.A.L. is almost like belonging to a union; you can find out what others of comparable abilities are getting for what work, and make appropriate adjustments. This is more important than it might seem at first glance, as some rather great disparities crop up. 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, 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. ◆
Posted on June 6, 2024May 28, 2025 by Dale Phillips Questions: Direct to Digital Pickup Questions: Direct to Digital Pickup by Brian Stewart Originally published in American Lutherie #76, 2003 Joel A. Anderson, Port Allegheny, PA asks: I have a computer program called Finale for Guitar. It permits me to enter notes and chords from the guitar directly into the computer by using the keyboard. I am looking for a MIDI pickup for my guitar so I can play a note or a chord and it will go directly into the computer in a digital format. Do you know of such a pickup? Brian Stewart of Blue Springs, MO answers: Roland manufactures the GK-2AH for guitar, the GK-2B for bass, and the GK-KIG-GT for permanent installation into a guitar. I have played a Godin Multiac nylon with the RMC electronics MIDI pickup through a Roland GR-33 guitar processor that worked great. The web addresses are: www.rolandus.com; www.california.com/~bwagon/rmc2.htm. ◆