Posted on May 15, 2026May 15, 2026 by Dale Phillips It Worked for Me: Pantograph It Worked for Me: Pantograph by Greg Nelson Originally published in American Lutherie #110, 2012 A pantograph has become my solution for dealing with small pieces of shell for inlay work. This simple device has allowed me to upgrade the quality of my inlay work as well as speed up the process. This is especially true with repeat work such as a logo. The pantograph is simply a series of rods connected in such a way that if one end is anchored and the other moved, a point between will move exactly the same but at a set fraction of the original movement. My pantograph is set up for a 50% reduction in size thereby giving me greater control of my cutting tool. 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 30, 2026April 30, 2026 by Dale Phillips Product Reviews: Garrett Wade Versatile Vise Product Reviews: Garrett Wade Versatile Vise by R.M. Mottola Originally published in American Lutherie #119, 2014 Garrett Wade Versatile Vise #05R10.10, $84.70 garrettwade.com The item reviewed in the following paragraphs was provided to American Lutherie for review. A draft of this review was sent to the supplier prior to publication so that any factual errors in the review could be corrected. A long time ago, before I started doing any serious woodworking, I had the pleasure of visiting the shop of a local woodcarver. In addition to a bewildering collection of gouges and mallets, he had a cool work-holding vise which could be positioned to hold the work in just about any position. I had forgotten most of the details of that visit soon after, but when it came time to begin equipping my own lutherie shop, I remembered that vise and considered it would be just the thing as the primary work-holding device. With only a description of what it could do, I rooted around for information and finally found that it was called a Versa Vise and was American made. That was the good news. 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, 2026April 23, 2026 by Dale Phillips It Worked for Me: Baby Bottle It Worked for Me: Baby Bottle by Robert Sherman Originally published in American Lutherie #109, 2012 One of my favorite bench tools that I use every day is a simple baby bottle. It is a spill-proof fluid delivery system that dispenses one drop at a time, every time, and can be used easily with one hand. Whether I need a mild soapy solution as a cutting lubricant for block sanding during finishing, or pure water to wet a fingerboard while fretting or refretting, this tool is in constant use on my bench. If you make small batches of hot hide glue, you will appreciate how conveniently you can add a controlled amount of water to thin the mix. These are inexpensive and can be obtained at any pharmacy or supermarket in the baby section. I have been using the same bottle for more than ten years without any leakage or deterioration of the seals. But I do find that solvents can soften the rubber, so these are best suited for water-based cargo. For dropping alcohol, I still prefer a hot sauce bottle with the tiny hole at the top seal. Photo by Robert Sherman. My son is now twelve years old, but I can credit him for giving me the idea when he started eating solid foods and, ever the conservationist, I had to find a new use for his old baba. ◆
Posted on April 23, 2026April 23, 2026 by Dale Phillips Making a Truly Flat Sanding Bar Making a Truly Flat Sanding Bar by Mark French Originally published in American Lutherie #113, 2013 As any luthier knows, a flat sanding bar is an indispensable tool. Buying one can be expensive, but making one isn’t as hard as you might think. It is not difficult to use strips of sandpaper to sand rectangular aluminum tube or bar stock to an extremely flat condition. To start, I should be clear that I like using 3˝ sanding bars, which are wider than many of those commercially available. They are handy for a number of tasks, especially ensuring that necks and fretboards are flat before gluing them together. They are a nice alternative to a heavy granite surface plate and are much easier to tuck away when not needed. Certainly, narrower ones can be more useful for leveling frets, and they can also be made using the process described here. 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 17, 2026April 17, 2026 by Dale Phillips Restoring Tárrega’s 1888 Torres Restoring Tárrega’s 1888 Torres by Jeffrey R. Elliott from his 2004 GAL Convention lecture Originally published in American Lutherie #83, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 It was a privilege and an honor to restore this 1888 Antonio de Torres classical guitar, which is the centerpiece of a wonderful collection owned by Sheldon Urlik of Los Angeles, California. Identified as SE 114 in Antonio de Torres Guitar Maker — His Life and Work by José Romanillos, this guitar has great historical significance, not only because it was made by Antonio de Torres, but because it was owned by the great guitarist, composer, and pedagogue Francisco Tárrega. Before I began any work, I consulted with luthier and historian José L. Romanillos of Guijosa, Spain, for his expertise on Torres guitars and also reread his comprehensive book, which is the primary source of the historical information that follows. In addition, I consulted with luthier John F. Mello of Berkeley, California, for his restoration experience on Torres guitars and both previous owner Elias Barreiro of New Orleans, Louisiana, and the present owner Sheldon Urlik for their knowledge of the history of this 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.
