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Letter: Public School Lutherie Class

Letter: Public School Lutherie Class

by Glen Friesen

Originally published in American Lutherie #91, 2007

 

Dear Tim,

I am a high school industrial arts teacher at Waldheim School Industrial Arts. Waldheim is a small community of about a thousand people located about thirty-five miles north of Saskatoon, Saskatchewan, in the heart of the Canadian prairies. I have constructed electric guitars and basses with students for years, but this year one of my 12th grade students, Trevor Boehm, completed our shop’s first steel string guitar. Traditional woods were used: mahogany, Sitka spruce, and ebony. Trevor added a number of personal touches such as using abalone for the peghead inlays, rosette, and pick guard; cocobolo and poplar purfling and binding; and a Tru-Oil finish. This is not a kit guitar. Each of the pieces was cut from larger dimensional stock.

What makes this project even more amazing is that it was constructed in a multi-activity shop environment. Oxyacetylene and plasma cutting, arc and MIG welding, several furniture projects, and two electric guitars were all being done in the same small shop while Trevor was constructing his guitar.

This is Trevor’s third guitar. His 10th grade project was a 6-string electric, and in 11th grade he designed and constructed a unique electric baritone guitar. Trevor will be graduating in June and hopes to explore a career in lutherie.

Both photos by Glen Friesen
Friesen-letter-02

Trevor’s steel string guitar marks the culmination of several years of planning and jig construction. We were really excited to hear the first notes from it. In my opinion, he did an exceptional job. The steel string is now a project that students can choose to attempt if they desire. All of this would have been a lot more difficult if I had not had access to your publications. I just felt that I needed to thank you. ◆

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Ken Parker’s Uncut Personal Take on the Genesis of the American Archtop Guitar

Ken Parker’s Uncut Personal Take on the Genesis of the American Archtop Guitar

as told to Mike Doolin

Published online by Guild of American Luthiers, July 2023



First, let’s note that a well developed, centuries long tradition of plucked, fretted instruments travelled to America from Europe, just like CF Martin did in 1833. He was the key figure in the evolution of the 6-string American guitar, and the importance of his work as a ferocious, persistent, successful instrument inventor cannot be overstated. Although there were other builders who did exceptional work and have had some continuing influence, CF laid the groundwork for the flattop designs we still revere and copy today.

There is no analog in the field of archtops, which have kind of stumbled from insult to injury, as I’ll try to explain. It’s my view, and you don’t have to like it, but I’ve been obsessed, and paying a lot of attention for a long time, so I hope you’ll give me your ears.

Circa 1890, brilliant oddball Orville Gibson decides to try to improve fretted instruments for his own use as a hobbyist. He played mandolins, which were becoming very popular, and he saw room for improvement and his artistic expression. He didn’t care much about the guitar, and so didn’t make many of them, maybe a dozen, some think even fewer. Orville concentrated his efforts on mandolins and harp guitars. He turned out to be a talented and prolific builder, and was active as a musician and performer. Orville had no training as an instrument maker or woodworker. He grew up on a farm in Western NY state during the second Industrial Revolution, and we all know that farm girls and boys can do a lot with a little. He moved to Kalamazoo, Michigan, a fast growing manufacturing center ripe with opportunities, full of startups and others eager to make their mark in the modern world. He was self-financed, working day gigs as a sales guy in a shoe store, then in a restaurant, whatever it took. Sound familiar? He made a close friend, Thaddeus McHugh, an expert woodworker, who may have had some training in Lutherie. Thad had a great singing voice they performed together. More on this important guy later… Orville was a good musician and although I’m sure he knew about violins, when he designed his arched mandolins and guitars, he followed his own design instincts. Some of his innovations were good, and others… well let’s say there was very little that he took from violin family bowed instrument construction.

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An Interview with Guitarist Roger McGuinn

An Interview with Guitarist Roger McGuinn

by Rachael Brent

Originally published in Guild of American Luthiers Quarterly, Volume 9, #3, 1981



Anyone that has ever seen Roger McGuinn perform knows without a doubt that, unlike many other musicians, McGuinn will never disappoint an audience. His singing, playing, selection of songs, and rapport with his audience convinces all that he is one of the most talented, thoroughly professional musicians in the business.

Beginning his career as Jim McGuinn, (later changing over to Roger) he was renowned as a fine banjo player and guitarist in the early 60s. He found a place as a accompanist, writer, and /or arranger for such artists as the Chad Mitchell Trio, the Limelighters, Bobby Darin, Tom and Jerry (later renames Simon and Garfunkel), Judy Collins, and the Brothers Gibb (the Bee Gees).

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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.

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Questions: Amplifying Flattop Bass

Questions: Amplifying Flattop Bass

by Harry Fleishman

Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie Volume Six, 2013



Mark Brantley of Appleton, Minnesota asks:

I recently ordered Tim Olsen’s plans for the Flattop Bass (GAL Plan #13). Do you have any advice on a good electric pickup for it?


Harry Fleishman of Boulder, Colorado responds:

It’s difficult to offer too much advice about amplifying your acoustic bass without more input about how loud you need to play, how high a fidelity to the instrument’s actual acoustic voice you want, and what your budget is; but here goes anyway.

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A Survey of Guitar Making Books

A Survey of Guitar Making Books

by Graham McDonald

Originally published in American Lutherie #98, 2009



Over the years, I have accumulated quite a few books on building guitars and other stringed instruments, as I’m sure many other instrument builders have. While many of the newer publications get reviewed in American Lutherie and other specialist magazines soon after release, others fly pretty much under the radar and never get much attention or noticed at all.

This is a comparative look at most of the books that have been published (at least in English) as instructional manuals over the past fifty years or so. Most have remained in publication over the years and even the ones that are out of print are usually pretty easy to find, especially through such online retailers like AbeBooks (abebooks.com) or Amazon.

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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.

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