Web Extras American Lutherie #125 - Spring 2016 Page 12 - Meet the Maker: Tom Bills by David Goen Archtop guitar sides (Image 1 of 3). Archtop guitar sides (Image 2 of 3). Archtop guitar sides (Image 3 of 3). Tom with his early archtops Mexico, 2000. Boaz Elkayam (left) with Tom Bills. Mexico, 2000. Toms puts in some quality hammock time, absorbing the diagrams drawn on the whiteboard by Boaz. Page 24 - Secrets of Santos by Federico Sheppard This tailor shop near to the Santos shop is now numbered Aduana 27. That was the number on the Santos’ shop until the Madrid city fathers changed the number to 23 around 1930 or so (Image 1 of 2). This tailor shop near to the Santos shop is now numbered Aduana 27. That was the number on the Santos’ shop until the Madrid city fathers changed the number to 23 around 1930 or so (Image21 of 2). Spain’s “kilometer zero” is near the Santos shop This is the tomb of Santos. Or maybe of his widow Matilde. It’s hard to be sure with so many letters knocked off. Here’s Jose Romanillos and his wife Marian Harris Winspear at the Santos exhibit in El Centro de la Vihuela de Mano y la Guitarra Española “José Luis Romanillos,” an educational foundation that they formed. This tiny Santos guitar was possibly a “salesman sample” to demonstrate his workmanship. Page 48 - The Hand-Rubbed Sunburst by James Condino James says: “The pad is a simple square of well-worn cotton T shirt; newer material will have a lot of fuzz that comes off in the finish. A wadded-up section of the same cloth is put inside the square. I tie it off with a rubber band, which really helps me focus on the motion of the pad and not trying to hold on to the whole mess.” (Image 1 of 5) James says: “The pad is a simple square of well-worn cotton T shirt; newer material will have a lot of fuzz that comes off in the finish. A wadded-up section of the same cloth is put inside the square. I tie it off with a rubber band, which really helps me focus on the motion of the pad and not trying to hold on to the whole mess.” (Image 2 of 5) James says: “The pad is a simple square of well-worn cotton T shirt; newer material will have a lot of fuzz that comes off in the finish. A wadded-up section of the same cloth is put inside the square. I tie it off with a rubber band, which really helps me focus on the motion of the pad and not trying to hold on to the whole mess.” (Image 3 of 5) James says: “The pad is a simple square of well-worn cotton T shirt; newer material will have a lot of fuzz that comes off in the finish. A wadded-up section of the same cloth is put inside the square. I tie it off with a rubber band, which really helps me focus on the motion of the pad and not trying to hold on to the whole mess.” (Image 4 of 5) James says: “The pad is a simple square of well-worn cotton T shirt; newer material will have a lot of fuzz that comes off in the finish. A wadded-up section of the same cloth is put inside the square. I tie it off with a rubber band, which really helps me focus on the motion of the pad and not trying to hold on to the whole mess.” (Image 5 of 5)
