Posted on December 11, 2019March 7, 2024 by Dale Phillips Seeking the Top Seeking the Top by Michael Sandén previously published in American Lutherie #86, 2006 I have been building guitars for almost twenty-five years. One of the hardest parts of being a luthier is getting the right materials. Through the years I have bought wood from all kinds of people. In the beginning I thought that it was best to buy logs and cut them myself. Sure, I got a better price, but all of the work, and all of the surprises I would sometimes get when I got halfway into a log — wormholes, knots, and sap pockets — could sometimes make my cheap log just cheap; good for nothing but firewood. I moved on to buying wood from dealers who were middlemen that would give you a very good price, but it often turned out that they didn’t know what they were selling. These mistakes made me start to buy wood from well-known dealers, ready-cut, so I could see what I was buying. I have even bought back-and-side wood through the Internet, where the dealer sends pictures. But when it comes to soundboards, I always want to look at them, flex them, and feel the weight. I don’t trust anyone other than myself. At least I didn’t until now. 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 November 14, 2019March 7, 2024 by Dale Phillips North American Softwoods North American Softwoods by Ted Davis, Bruce Harvie, Steve McMinn, Byron Will, and Dave Wilson, moderated by Joseph Johnson from their 1990 GAL Convention panel discussion Previously published in American Lutherie #31, 1992 and The Big Red Book of American Lutherie, Volume Three, 2004 Why don’t each of you tell us who you are, where you’re from, and a little bit of what you’ve done. Ted: My name is Ted Davis and I live in Tennessee near the Smokey Mountains. The Smokeys have red spruce in them and when I found out this wood was useful, I started pursuing it. In the last two years, after a ten-year search, I have managed to find and cut a small amount of red spruce. It was the wood that was used by Martin and Gibson around the turn of the century, up into the 1940s. Bruce: My name is Bruce Harvie and I have a company called Orcas Island Tonewoods in the San Juan Islands of Washington. I have spread myself very thin cutting all the Northwest species — western red cedar, Port Orford cedar, Sitka spruce, Engelmann spruce — and I’ve just returned from cutting some red spruce. Byron: I’m Byron Will and my interest is more from an instrument maker’s point of view. I started building harpsichords in 1975 when I moved to the Pacific Northwest from Wisconsin. I wasn’t very satisfied with the woods I had been using. After seeing these gorgeous Northwest trees I started wondering about their physical and acoustical properties and how useful they’d be in my work. I decided to try some of the local softwoods and learned quite a bit through the years. 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, 2019March 7, 2024 by Dale Phillips Accidental Exotics Accidental Exotics by Mike Brittain previously published in American Lutherie #95, 2008 My interest in guitars started when I was four years old and spotted a baritone uke at my granddad’s house. I started playing guitar at eight and played in garage bands until I went into business as a cabinet maker in 1971 at age eighteen. In 1975 I decided to build a guitar. It looked similar to a guitar, but was not an object to be proud of. However, I persisted and eventually built twenty-three guitars in the next eight years. I was a GAL member during some of that time and got a lot of inspiration from many GAL authors and members. In 1983 I decided to quit building guitars to concentrate on my growing cabinet business. In 1997 my granddad passed away. He knew how much that ukulele meant to me, so he left it to me. That inspired me to start building again. For the first time in fifteen years, I opened the case of my guitar #23. To my surprise, I was pretty impressed. It looked good and sounded good, and there were no cracks. My first new project was based on the baritone uke, and I gave it to my dad in honor of my granddad. At that point I was hooked on building again. In 1999 I sold my business and started attending classes with Charles Fox, Cameron Carr, Greg Byers, Jeff Elliott, and Cyndy Burton. I have spent the last four years working with Augie and Donna LoPrinzi. I have been fortunate to spend time learning from my lutherie heroes. 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 September 10, 2019March 7, 2024 by Dale Phillips Meet the Maker: Dan Kabanuck Meet the Maker: Dan Kabanuck by Roger Alan Skipper previously published in American Lutherie #104, 2010 Dan, you look familiar, yet you’re from my opposite side of the country, and you’re new to lutherie. I’ve met scores of luthiers, spoken to hundreds more, and processed thousands of your orders. I’m a customer service rep at Luthiers Mercantile International, LMI, and you probably saw my picture gracing page four of the latest catalog, holding the “new LMI Shred-o-matic ‘Dandolin’ guitar kit.” It’s not a real instrument, by the way; several people have asked. I was in the middle of building my electric guitar when my picture was taken, and I grabbed a ukulele neck and held it on my body, and Chris Herrod snapped a picture. Chris is the Sales Manager, and the most brilliant person at LMI — he hired me! Your first two instruments, an OM-sized acoustic and a Les Paul electric, seem several cuts above most beginning luthiers’, with marvelous wood and beautiful detail and finish. Do you have a woodworking background? I actually sold real estate for sixteen years — I’m a licensed broker — but burnout and a tanking market led me to find a real job. My woodworking background is fairly limited: shop classes as a kid and some construction work in my late teens. Quite often I’d do repairs on the homes I was selling rather than deal with a contractor. My father is a furniture refinisher and repairman, so I’ve learned some of that. I’m by nature an arts-and-crafts person and have a general knowledge of tools. I discovered LMI just over three years ago on Craigslist. When I started, I had no lutherie knowledge, and had never considered building an instrument. I wanted to be able to talk intelligently about LMI’s products and how they work, and my nature urged me to build not one, but a couple of guitars. 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 August 30, 2019March 7, 2024 by Dale Phillips Meet the Forester: Andrea Florinett Meet the Forester: Andrea Florinett by Greg Hanson previously published in American Lutherie #93, 2008 In the summer of 2005, I took a step that many an amateur luthier eventually must — I ordered European spruce tops from a European source over the Internet. The Internet has become a vital vehicle for commerce, but when it comes to selecting tops for acoustic guitars, nothing can replace hands-on inspection, even for those of us with less than full-time professional experience. The tops that showed up on my doorstep two weeks after I clicked the “Submit Order” button exceeded my expectations, but I liked some better than others. How, then, to solve this problem other than trekking off to Europe to test, tap, and touch the so-called Holy Grail of the Mother Continent, Picea abies? As a professor of German and a fluent speaker of the language, I threw caution to the wind and wrote to Andrea Florinett of Tonewood Switzerland in Graubünden, Switzerland. I took advantage of the three main reasons many teachers become teachers — June, July, and August — to ask Andrea if I could work for him for a couple of weeks on a volunteer basis. I can only imagine what reservations the Florinett family might have had, but a week later I received a very welcoming e-mail from Annette Florinett, Andrea’s wife, accepting my offer. Tonewood Switzerland is largely a family-run operation with one full-time employee, and they were glad to gain a helping, albeit inexperienced, hand. 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.
