Posted on February 1, 2026April 3, 2026 by Dale Phillips It Worked for Me: Adapting Dreadnaught It Worked for Me: Adapting Dreadnaught by Charles Freeborn Originally published in American Lutherie #119, 2014 I decided to add a parlor guitar model to my existing line by adapting the dreadnaught-sized Freestyle model to the smaller dimensions. I started with the Freestyle’s CAD drawing, then offset the body shape inward 1/2" (Photo 1). Since I construct my instruments in an external mold, I asked myself “why not do the same thing to the existing mold, by adding a removable sleeve?” That way my current mold could be used for both the original model and its smaller sibling (Photo 2). 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 January 15, 2026January 15, 2026 by Dale Phillips Partial Refrets Partial Refrets by John Calkin Originally published in American Lutherie #90, 2007 Partial refrets are a somewhat different matter than a full refret. Full refrets are often done for reasons other than worn frets, such as a compression refret to take excess relief out of a neck with a nonoperative or nonadjustable truss rod, or to allow a fretboard hump at the body joint to be dressed out. Partial refrets are usually performed on an instrument that has been played exclusively on the first few frets. Those frets have been grooved by the strings to the point where the strings buzz on the seldom-used frets. Most of the time I like to replace a couple of the unmarred frets as well just to play it safe. Occasionally a fret in the middle of the fretboard gets damaged and must be replaced. The procedure for this is similar to a partial refret for worn frets. There are other reasons to perform a partial refret, such as installing taller frets by the nut to make a slightly back-bowed neck playable, but these considerations are not covered here. I used to dislike partial refrets and tried to talk the customer into a full refret. This insured that the same fretwire covered the entire fretboard and also put more money in my pocket. After a slight mental adjustment and some practice at partial refrets I have come to look forward to them. The money involved is less, but partial refrets are normally far less complicated than a full refret and take a predictable amount of time. 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 January 15, 2026January 15, 2026 by Dale Phillips Meet the Maker: John Calkin Meet the Maker: John Calkin by Lamar Scomp Originally published in American Lutherie #99, 2009 John Calkin lives in my neighborhood. He’s trying to teach me to build guitars. We talk about lots of things, but we always start with guitars. Finally he says to me, “Lamar, why don’t we talk into a tape machine about me, and if it’s any good, I’ll type it up and send it in.” Well shoot, with a confidence boost like that, who could say no? So here’s the talkin’ — if’n he liked it. Where was you born, and how come you’re here in Virginia? Don’t jump in time so fast, Lamar. You’ll get the hang of this as we go. I was born in New Jersey. It was a good place to be a boy when I was one. Now it’s not a good place for anyone, and that’s why I’m in Virginia. 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.
Posted on October 10, 2025October 10, 2025 by Dale Phillips Hearing Voices: A Recipe for Voicing the Steel String Guitar Hearing Voices: A Recipe for Voicing the Steel String Guitar by John Greven from his 2011 GAL Convention workshop Originally published in American Lutherie #114, 2013 Let’s discuss a vocabulary for tone. These are the words I use when I talk to my customers. Power. We’re talking about headroom, the ability to get louder when you play harder. Responsiveness. I want a top that will respond easily to a light touch, but it will also sustain under a heavy one. The finished guitar will have a full voice played lightly or heavily or anywhere in between. A lot of guitars require a heavy touch; as playing pressure diminishes, the voice gets thin and loses its full substance. Projection. How far away can you hear it? I want the guitar to throw its voice as far as possible. When I was at Gruhn’s, a 1937 D-28 came in, all original. The top was the thinnest we’d seen on a herringbone, about .090", but it was really stiff. The sound of that guitar was painful, but you could hear it for miles. For a bluegrasser trying to play lead over six banjos, that’s the guitar. 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.
