Posted on March 6, 2024March 7, 2024 by Dale Phillips 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. 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 March 3, 2024May 15, 2025 by Dale Phillips 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). 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 April 21, 2023May 29, 2025 by Dale Phillips 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. 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 October 31, 2022May 23, 2025 by Dale Phillips 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. 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 March 4, 2022May 20, 2025 by Dale Phillips Steve Kauffman: Winnin’ and a-Grinnin’ Steve Kauffman: Winnin’ and a-Grinnin’ by Ted Davis Originally published in American Lutherie #6, 1986 Mention guitar flat-pickers and names like Dan Crary, Tony Rice and Mark O’Connor burst into our minds. To the growing number who know Steve Kauffman, his name flows just as easily and quickly into our thoughts. Steve has many things in common with these “biggies”. For instance only three men have ever won the flat picking championship at Winfield Kansas twice. Mark O’Connor and Steve Kauffman are two of the three. Dan Crary had the following to say about his first meeting with Steve: “One night in the summer of 1977 I had a chance to sit down and join with some fine guitar players in Knoxville, Tennessee. One of the things I remember about that gathering is the looks of respect and awe several of the pickers gave Steve Kauffman when he came over and sat down. I soon found out why: Steve is one of the best young flatpickers in the country. And along with his flair for the hot and flashy, he has some additional ammunition like power, clarity and musical taste. All those things make him an out-of-the-ordinary guitar man. The music is up beat, hot and melodic. When it’s over you feel like you’ve heard the tune and you’ve learned a couple of things about guitar and mandolin playing and you’ve enjoyed yourself besides.” (From the cover of Steve’s first album “Footloose”.) 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.