Posted on July 7, 2026July 7, 2026 by Dale Phillips First Build: A Lumberyard Ukulele First Build: A Lumberyard Ukulele by Steve Dickerson Originally published in American Lutherie #143, 2021 When you’re building your first instrument, there aren’t many options. You can buy a kit, join a class (if you can find one), or build from scratch. Kit building can be enjoyable, as well as educational, but (to me, at least) it doesn’t produce the same satisfaction and sense of accomplishment that comes from starting with nothing but the raw materials. My first instrument, many years ago, was scratch-built, but with a twist: I bought a tenor ukulele kit from StewMac, complete with plans and a how-to DVD. I watched the DVD, studied the plans and manual, but set the kit aside. I then bought materials from Home Depot and made a uke, using the kit’s plans and instructions. I still have my “Lumberyard Ukulele” (Photo 1), and it’s a good reminder of some of the things I did wrong. 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 May 26, 2026May 26, 2026 by Dale Phillips Uke Making for Guitar Makers Uke Making for Guitar Makers by Bob Gleason Originally published in American Lutherie #96, 2008 Ukuleles come in a wide variety. You’ve probably seen pineapple and cigar box ukes, so you know they are traditionally less defined than guitars. The size of the uke is defined by the scale length. There’s a guy in Japan who plays a baritone-size body with a soprano scale length, but it’s still a soprano uke. The names of the sizes, from smallest to largest, are soprano, concert, tenor, and baritone. The first three are tuned the same (GCEA), while the baritone is tuned like the highest four strings of a guitar (DGBE). Traditionally, the shapes of the bodies are roughly guitar-like, though various builders have taken severe liberties with the shapes without incurring the wrath of most uke players. Nothing about uke construction is engraved in stone. 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 May 5, 2026May 5, 2026 by Dale Phillips Norwegian Spruce Norwegian Spruce by Leonardo Michelin-Salomon Originally published in American Lutherie #143, 2021 In 2017, the Norwegian Crafts Institute and the Norwegian Luthiers Association came together and held a seminar about spruce — and specifically Norwegian spruce — as tonewood. Different panelists explored the topic from different angles: Violin maker Magnus Nedregaard presented us with a historical perspective on the quality of the spruce seen on old violins, also in light of dendrochronological analysis; a retired biologist and forest researcher talked about wood technology in general and about the growth conditions in Italy’s Val di Fiemme area and how it might translate to Norwegian conditions; Roald Renmælmo, Assistant Professor at the Norwegian University of Science and Technology in Trondheim, introduced us to traditional Norwegian practices in selecting and harvesting spruce in small scale and for specific purposes; and we also heard the accounts of Karl Otto Mikkelsen, a biologist and violin maker used to looking for and harvesting Norwegian spruce for his instruments. Later, material samples were gathered so interested members could test them at will. As part of my fellowship research I wanted to make several copies of the same guitar. One of the reasons for this was indeed to test some of these different spruce samples and compare them to commercial grade spruce from the Alps, the kind we are all used to seeing and using. My work merely scratches the surface of the possibilities. 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 24, 2026April 24, 2026 by Dale Phillips Questions: Colors in Abalone Questions: Colors in Abalone by Isabel Roeder Originally published in American Lutherie #109, 2012 Roger Alan Skipper of Oakland, Maryland asks: Do you know any way to keep the colors in abalone and MOP from washing out in a digital photo? I’ve tried everything I can think of, and can never recapture the intense greens and blues, even with some pretty intense color adjustments. Isabel Roeder of Newton, Massachusetts replies: There are many things that can make an image or part of one appear washed out, so first let me cover the basics. First, never use flash or other harsh, direct light. Indirect sunlight works best. If your camera has a saturation and contrast control (Nikon cameras call this “picture control” and generally have an option called “vivid”) you can try increasing both in the camera. You can also try this with photo editing software. Another thing to try in the camera or with editing software is sharpening. 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 March 3, 2026March 3, 2026 by Dale Phillips Half-and-Half Tops Half-and-Half Tops by Harry Fleishman Originally published in Lutherie Woods and Steel String Guitars, 1997 About five years ago I made a significant change in the way I make my guitars. For twenty years, or so, I had used Sitka spruce exclusively for both classical and steel-string instruments. I had good supply of nice wood and had become accustomed to the tone of the guitars I made with it. After reading several articles about makers using cedar and even redwood for their tops, with their glowing reports of quick response and interesting tone, I decided to try and experiment of my own. I built two instruments as identical as I could, using the same rosewood for the sides and back, as well as bracewood and neck material, respectively, from the same boards. When the guitars were strung and played in a bit, it was instantly noticeable that the redwood guitar had a warmer, more intimate, darker tone that was both inviting and extremely pleasing. The spruce, by contrast was sharper, brighter, and more clear in its upper partials, and had better projection. It lacked the warmth, but excelled in volume. Each guitar was missing what the other possessed. 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.
