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 30, 2026April 30, 2026 by Dale Phillips Making Bridge Plates: A Huss & Dalton Shop Story Making Bridge Plates: A Huss & Dalton Shop Story by John Calkin Originally published in American Lutherie #75, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Consider the humble bridge plate. There’s no consensus on its shape, size, the material it should be made from, or even its real function. Certainly it supports the ball ends of the strings and protects the top wood from damage. But is it a brace that helps prevent top deformation? Does it help shape or alter the voice of the guitar? Does it really give bridge support? You tell me; I really don’t want to get in on the argument. Vintage Martin people have definite ideas about what size and shape the bridge plate should be, and it better be made of maple. Most guitarists probably don’t give a thought to the bridge plate, which places it firmly in the lap of the luthier. 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 30, 2026March 30, 2026 by Dale Phillips Dust Masks and More Dust Masks and More by Linda Stuckey Originally published in American Lutherie #116, 2013 Respirators seem like the most affordable part of the dust control system, and if you’re a hobbyist who backs the car out of the garage on the weekends to set up the bandsaw, your only dust control might be a broom and a dust mask. How do you find the one you need? The National Institute for Occupational Safety and Health (NIOSH) certifies particulate respirators that meet its standards. The ratings are based on efficiency and resistance to airborne oil. The letters tell you that the mask is not oil resistant (N), is somewhat oil resistant (R), or is nearly oil proof (P). In a similar way, the numbers describe the efficiency, the percentage of particles the material traps. So an N95 mask is not oil resistant and filters at least 95% of airborne particles.1 (A rating of 100 means at least 99.97%. They round that one.) So if you’re using an N95 mask, no more than 5% of the particles can get through it, assuming it fits well. The mask works partly like a sieve, so that particles larger than the gap between fibers can’t penetrate. But smaller particles also get stuck to the fibers. And the P-rated masks include an electrostatic coating on the surface of the mask as a third filtering method.rticles also get stuck to the fibers. And the P-rated masks include an electrostatic coating on the surface of the mask as a third filtering method. 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 30, 2026March 30, 2026 by Dale Phillips Battling Shop Dust Battling Shop Dust by Robbie O’Brien Originally published in American Lutherie #116, 2013 As luthiers we are all aware of the many health hazards and dangers we encounter daily in our craft. Sharp objects, hand tools, power tools, and chemicals from finish and repair work come to mind almost immediately. Many of us also play the instruments we make, so just the thought of losing a finger and not being able to play anymore motivates our safety habits. However, we often overlook a pervasive danger in the shop, wood dust. Even in cases when we are aware of the danger, we may do little or nothing about it. We protect our fingers, eyes, and ears in the shop, but what about our noses and lungs? Most of us know that dust in our shops is a major nuisance. But how many realize that excessive exposure to wood dust can cause health problems? The health hazards of wood dust are well documented. Some wood dusts are toxic, even carcinogenic, and frequent exposure can lead to sinus and lung problems, or worse. The U.S. Department of Labor OSHA website warns: “In general, exposure to excessive amounts is considered to have an irritant effect on eyes, nose, and throat in addition to pulmonary function impairment and is considered a human carcinogen. Western red cedar dust has also been shown to cause asthma.”1 Now wait just a minute! I use this species on my guitars. Now you have my attention! 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.
