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AllClassical GuitarHow-ToIn MemoriamInstrumentsLuthiersReviewsSteel String GuitarViolin FamilyWhy it WorksWood Battery-Powered Instrument Amplifiers The Two-Storey Dulcimer Calculating Soundbox Volume Product Reviews: Ameritage Cases Travel Lute Questions: Rusty Instrument Odors Constructing an Under-Saddle Transducer Letter: Hurdy-Gurdy Letter: Vacuum Clamp A Special Guitar Neck Modification Questions: Amplifying Flattop Bass Questions: Guitar Air Cavity Meet the Maker: Henry Stocek Flamenco Capo Electronic Answer Man, Part 1 Little Dobro Decades of Banjo Building the Prima Gusli Attic Strads, and Why What’s Worth Something Is Worth What It’s Worth A Survey of Guitar Making Books A Method for the Design of the Guitar Body Outline Parametric Models of Guitar Cutaways A Method For the Design Of the Guitar Body Outline Part 3: Compound Radius Curves Curved Panel Templates Potassium Dichromate, Oxalic Acid, and Carnauba Wax Spray Gun Agitator Intro to P.E.G. Neck-to-Body Joint Glass Jars for Spray Guns It Worked for Me: Danco Bend-O-Matic Transducers Product Reviews: Knilling Perfection Planetary Pegs Lutherie Binge? Separating Glued Joints Harpsichord Basics Foam Cases Conical Radius Fretboard Formula Guitar Outline Formula The Design Diamond DVD Review: In Search of the Harp Guitar, It’s History, Players, and Makers, hosted by John Doan Epoxy Questions: Significance of Q Letter: Ancient Simple Fiddle Questions: String Tension and Purity of Tone Questions: Tru-Oil Finishes The Accomplishment of Gary Karr Letter from London Bridge Positioning Questions: String Tension and Pure Tone On Becoming a Successful Luthier Wood Salvaging Down Under Review: Guitar; An American Life by Tim Brookes Letter: Statistical Listening Test Quickie Sander Fence Meet the Merchant: Jay Hostetler Meet the Maker: Guy Rabut Our Great Spherical Friend, Part One Our Great Spherical Friend, Part Two Our Great Spherical Friend, Part Three Improving the Plywood Bass Questions: Vaulted Back Guitar Questions: Making Your Own Amp Inharmonicity of Guitar Strings Questions: Damaged Ironbird Meet the Maker: Do Viet Dung The Right CAD Curve An Experimental Tenor Violin A Different Way of Defining Body Shapes Questions: Fingerboard of Orpharion Let’s Get Busy Some Traditional Vietnamese Instruments Questions: Quartersawn Wood It Worked for Me: Violin Bow Hair Storage Questions: Ebony Tailpiece Cracks Meet the Maker: Kevin La Due Cleaning Shop, Part 2 Violin Setups, Part One Violin Setups, Part Two Visits to Guitarrerias The Piccolo Bass Thoughts on Soundboard Vibration Harpsichords: Reconstructing an Era Business Ethics in Lutherie Steve Kauffman: Winnin’ and a-Grinnin’ Mossman Truss Rod Adjustment Wet Inlay First Impression of America Adirondack Spruce Growth Rates and Accessibility They Eat Linseed Oil, Don’t They? The Early and the “Modern” Viol Rosewood and Ebony Shortage Reinventing the Celluloid Tortoise Router Trimming Attachment Cleaning Shop, Part 1 Restoring a “Church Bass” The Power of Circles Early Engelmann Prepping Rough Planks for Solid Bodies ’Way Down Upon the Amazon River Heavens Open for Robbie Geometric Design of the Stradivari Model G Violin, Part One: Mold and Template Geometric Design of the Stradivari Model G Violin, Part Two: f-Holes Geometric Design of the Stradivari Model G Violin, Part Three: The Scroll Shop-Made Bandsaw Dust Port Building the Tar Wonders of the Lutherie World: The Great Oregon Prairie Fiddle The Paul Schuback Story Osage Orange: American Gold Activating Hide Glue with Steam Bending Sides with Silicone Blankets An Ingenious Epinette Shortening Schaller Shafts Some Alternative Lutherie Woods Musical Strings Remembering Harry LeBovit Your Most Important Machine Calculating Fret Scales Pearl Inlay Method Neck Relief Calculating String Tension Violin Varnish and Sealers Tinting Lacquer Marks Inlays Ocelot Ear and Spruceana The Travielo Lute Rib-Cutting Jig Electric Violins: The New Frontier A Case of Explosion Damage The Sami-Sen Ren-Shaped Precision Mold Material Wonders of the Lutherie World: Grand Guitar Taking the Guitar Beyond Equal Temperament Apprenticeships: Potentially a Great Opportunity for Mentors and Apprentices Alike Alternative Lutherie Woods List Jatoba Floyd The Anti-Murphy Concert Wood Bibliography The Acoustical Characteristics of the Concert Cimbalom Router Jig for Shaping a Neck Conical Fretboard Radiusing Jig Stalking the Wild Pine Rosin Violin Free Plate Mode Tuning Reprised Small Bow for Psalteries and Dulcimers Frets and Fingerboard Care Sealing Wood with Glair Bass Crate Violin Ribs/Latent Tension The Cimbalom Folding Banjo Stand Fiddle Facts Jack Batts Flexible Dulcimer Hammers “1704” Varnish Recipe Stalking the Wild Maple Applications of the Silicone Heating Blanket in Violin Making Acid Rain Brazilian Tonewoods Finite Element Simulation of Guitar Top Vibration A Contrabass for the Pugo Brothers Drafting Instrument Plans Pre-bending Herringbone Purfling Trends: 1985 Lute Society Seminar Bubinga Big Blue Ladder Blackboard Eraser Polisher Twenty Ancient Dyestuffs and Eleven Mordants Accident Prevention: A Case History Lutherie: Art or Science? Space Bass Tuning the Guitar Finishing Lute Soundboards Rule of 18 vs Rule of 17.817 Rosin Varnishes In Defense of the Amateur Electronic Aiding of Stringed Instrument Sound The David Sturgill Story Sturgill on Wood Bow Hair Jig Making Lining Strips — One Free Plate Tuning, Part One: Theory African Rosewood Hand Sander Dust Collection Adjustable Neck Joints Improved X Bracing In Search of the Perfect Cone Skin Heading Ethnic Drums, Etc. A Review of Three Old Lutherie Books Cutting Michigan Maple The Well-Unpublished Luthier Quick Cuts: The Boujmaa Brothers’ Moroccan Lutherie Shop Whence Tree Names A Primer on Botanical Pronounciation One Way to Make Kerfed Lining Bass String Choices Moisture Content Letter: Glue, Chemistry, Etc Dalbergia Nigra and Friends The Bluegrass Dobro Basics of Air Resonances Area Tuning the Violin Hints for Area Tuning the Violin Spiritual Lutherie White, Yellow, and Hide Glues Questions: Summer/Spring Wood Brazilian Guitar Makers Meet the Maker: Donald Warnock Hellfire! or How Not To Build A Banjo Roy Smeck: Wizard of the Strings Antonius Stradivarius in South Dakota Indian Import and Export Birth of the Packaxe A Laminated Neck Design South American Rosewood World Outlook, a Merchant’s View Two Tips on Pearl Inlay Tamburitzas The Portuguese Guitarra: A Modern Cittern Systems Analysis of the Violin Gold Leaf Selecting Australian Timbers The American Luthier: A New Era Building a First Guitar More Inlay Tricks Copying Pearl Patterns Oil Varnish Techniques World Forest Outlook Acid Rain Update Free Plate Tuning, Part Two: Violins Letter: Beam Stiffness vs. Strength Commercial Graphite Acoustic Guitars Sustainability: An Issue Confronting Luthiers It’s a Kabosy 6-Course Ivory Lute labeled Magno dieffopruchar a venetia, ca. 1550 in the collection of J. & A. Beare Ltd. Building a Plywood Bass Violin Top Removal The Red (Spruce) Scare Free Plate Tuning, Part Three: Guitars Quick Cuts: The 13-string Chiavi-Miolin Guitar In Praise of the Plywood Bass Wood Terms and Taxonomy Devolution of the Modern Lute Meet the Maker: Bart Reiter New Directions in Violin Making Harvesting Engelmann Spruce Gimme Back My Minutes Dissolving the Mysteries Seeking the Top Meet the Maker: Carleen Hutchins What You Should Know About The Hardanger Fiddle North American Softwoods H.L. Wild Controlling Strings, Wood, and Air The Truth about Temperaments The Hammered Dulcimer: Ancient, Wonderful, and Still Evolving Meet the Maker: Douglas Martin Accidental Exotics Bow Rehairing Meet the Maker: Dan Kabanuck Making a Weissenborn-Style Guitar Meet the Maker: Norman Pickering Meet the Forester: Andrea Florinett Gibson Banjo Information Intonation in the Real World Constructing the Middle Eastern Oud, Part One Herr Helmholtz’ Tube Woodchopper’s Ball The Trio Romantico and the Requinto The Imperator Top 40 Wood List Side Soundports Nine Electric Guitar Construction References Reviewed The Colombian Andean Bandola The Catgut Acoustical Society and the New Violin Family Association Grading and Resawing Lutherie Wood Three Short Articles by H.E. Huttig Fabio’s Excellent Nicaraguan Adventure Glossary of Basic Wood Terms Guitar Swap! Searching for Blue Significance A Tale of Two Schools The New Violin Family A Friendly Interview with Donald Warnock In Memoriam: José Luis Romanillos Vega In Memoriam: L.M. “Buzz” Vineyard In Memoriam: Jonathon Peterson In Memoriam: G.D. (George) Armstrong In Memoriam: Dell Staton In Memoriam: Graham Caldersmith In Memoriam: Felix Manzanero In Memoriam: Leo Bidne In Memoriam: Fred Campbell In Memoriam: Wesley Brandt In Memoriam: Jim Mouradian In Memoriam: Joseph Wallo In Memoriam: Milton “Gene” Stephenson In Memoriam: Eugene Clark In Memoriam: Frederick C. Lyman In Memoriam: Ray Tunquist In Memoriam: Jim Forderer In Memoriam: Robert S. Cooper In Memoriam: Darlene Eddinger In Memoriam: Don Bradley In Memoriam: Joseph R. Johnson In Memoriam: Jess Wells In Memoriam: Steve Newberry In Memoriam: Manuel Velázquez In Memoriam: Robert Ruck In Memoriam: Ken Goodwin In Memoriam: Peter Kyvelos In Memoriam: James L. D’Aquisto In Memoriam: Hart Huttig II In Memoriam: Richard L. Schneider In Memoriam: Irving Sloane Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith Review: The Guitar of Andres Segovia Hermann Hauser 1937 Review: Aux origins de la guitare: vihuela de mano by Joël Dugot Review: Folk Harp Design and Construction by Jeremy H. Brown Review: Left-Brain Lutherie by David C. Hurd, PhD Review: The Vihuela de Mano and The Spanish Guitar: A Dictionary of the Makers of Plucked and Bowed Musical Instruments of Spain by José L. Romanillos and Marian Harris Winspear Review: Baxter’s Database of Violin and Bow Makers v3.0 by Edward D. Baxter Review: Getting a Bigger Sound: Pickups and Microphones for Your Musical Instrument by Bart Hopkin with Robert Cain and Jason Lollar Review: El Tiple Puertorrqueño: Historia, Manual y Método by José Reyes-Zamora Review: The Setup and Repair of the Double Bass for Optimum Sound by Chuck Traeger Review: Build Your Own Lap Steel Guitar by Martin Koch Review: Building an Acoustic Guitar by Dan Erlewine and Todd Sams Review: Build a Steel String Guitar with Robert O’Brien by Robert O’Brien Review: The Century That Shaped the Guitar (From the Birth of the Six-String Guitar to the Death of Tárrega) by James Westbrook Violin Q & A: Cost of Opening a Violin Shop Violin Q & A: Violin by John Ericson Violin Q & A: Limits of Regraduation Violin Q & A: Color of Potassium Silicate Review: Violin Making — Live! Watch Me Make a Cello, Step-by-Step by Henry Strobel It Worked for Me: Violin Shipping Tips Violin Q & A: Violin Polish Recipe Letter: Erikson Letter AL#7 Letter: Circles in Classical Violin Design Letter: Hardingfele Violin Q & A: Violin Cleaner Recipe Questions: Full Sized Violin Molds Violin Q & A: Lightfast Colors Violin Q & A: Fiddle Fakes by Tetto Gallo Violin Q & A: Violin Varnish Recipe Violin Q & A: Cello Bridge Change for Projection Review: So You Want to Make a Double Bass; To Make a Double Bass; Double Bass Making Review: Guitar Finishing Step-by-Step by Dan Erlewine and Don MacRostie Review: Sunburst Finishing by Dan Erlewine and Don MacRostie Review: Assembling a Solidbody Electric Guitar by Dan Erlewine Questions: Double Bass External Linings Review: Taylor on Guitars: New Neck Designs by Bob Taylor, Taylor Guitars Review: Installing Transducer Pickup Systems by Dan Erlewine Questions: Bass Scroll Review: Spray Finishing Basics by Dan Erlewine and Don MacRostie Questions: Violin Tailpiece Review: From Harp Guitars to the New Hawaiian Family: Chris J. Knutsen, History and Development of the Hawaiian Steel Guitar by George T. Noe and Daniel L. Most Review: The Acoustic Guitar Guide by Larry Sandberg Review: Dan Erlewine Lutherie Videos Review: The Art of Violin Making by Chris Johnson and Roy Courtnall Questions: Violin refinish Review: The Player’s Guide to Guitar Maintenance by Dave Burrluck Review: Archtop Guitar Master Class Series Part 1: Focusing on Bridges and Tailpieces by Bob Benedetto Questions: Balsa Wood Violins Review: Northumbria Tuning Gears Review: Custom Knifemaking by Tim McCreight Review: Benedetto Archtop Plans Review: Music, Cognition, and Computerized Sound; An Introduction to Psychoacoustics edited by Perry R. Cook Review: Custom Guitars: A Complete Guide to Contemporary Handcrafted Guitars edited by Simone Solondz Review: Dangerous Curves: The Art of the Guitar by Darcy Kuronen In Memoriam: François Pistorius In Memoriam: Terry Demezas In Memoriam: Hammond Ashley In Memoriam: John Sullivan In Memoriam: Arthur E. Overholtzer In Memoriam: Ted Beringer In Memoriam: Robbie Robinson In Memoriam: Robert Lundberg In Memoriam: Robert Mattingly Review: Shoptalk 5 by Todd Sams, Don MacRostie, Dan Erlewine Review: Acoustics of Wood by Voichita Buchur In Memoriam: Mario Martello In Memoriam: Nicholas Von Robison In Memoriam: David Rubio In Memoriam: Mario Maccaferri Review: Ring the Banjar! The Banjo in America from Folklore to Factory, by Robert Lloyd Web Letter: Sloane Bass Tuners In Memoriam: Lance McCollum Letter: New Violin Family Octet Kit Review: The Riverboat Banjo from Musicmaker’s Kits Letter: British Violin Making Association Formed Kit Review: Musicmaker’s Hurdy-Gurdy Review: Tambura by Dusan Brankov Review: Strobel Series for Violin Makers In Memoriam: José Ramírez IV Review: Research Papers in Violin Acoustics 1975–1993 Product Reviews: Livos Oil Finish In Memoriam: Frederick Thomas Dickens Letter: Cleaning/Polishing of Violins Letter: Settling-In of Guitars Kit Review: Musicmaker’s Regency Harp Letter: Replying to Keith Hill’s Opinion Column Letter: Electric Violins Letter: Michigan Violin Makers Review: Advanced Inlay Techniques by Larry Robinson Letter: Passing of Hart Huttig Letter: Thoughts on Bow Hairing Review: Acquired of the Angels by Paul William Schmidt Review: Mandolin Magazine Letter: Violin String Tension In Memoriam: George Majkowski Letter: Installing Pegheads Review: Making and Playing Musical Instruments by Jack Botermans, Herman Dewit, and Hans Godefroy Review: The Art of Modern Violin Making by Ricardo B. Flores In Memoriam: Rob Girdis In Memoriam: David Minnieweather In Memoriam: Victor Gardener In Memoriam: Taku Sakashta Letter: Use Any Wood You Like Letter: The End of Experimental Musical Instruments Magazine In Memoriam: Thomas Humphrey Questions: Guitarron Strings Letter: First Guitar Product Reviews: Dan Erlewine’s Don’t Fret video Letter: Veneer Backing Boards Letter: Lutherie in Russia In Memoriam: Dennis Stevens Letter: Guitar Dimensions and Harmonics Letter: Don’t Replace Bridge Plate Questions: Hurdy-Gurdies Letter: Start by Building a Dulcimer Questions: Dulcimer Plans Questions: Sadolin Varnish Product Reviews: Acoustech Dynamic Field Pickup Questions: Lute Strings Letter: Koestler’s “The Act of Creation” Questions: Weissenborn Guitar Letter: The Hammered Dulcimer Business Letter: Luthiers Must Offer What Factories Can’t Questions: Superglue Finish Interaction Questions: Zero Fret Advantage Letter: Bosch Laminate Trimmer and Cheap Mando Family Letter: Osage Orange Questions: Fret Shape and Tonality Letter: Crystals in Wood Cells Letter: Remembering Robert Bouchet Letter: Remembering Robert Lundberg Letter: Engelmann Spruce Letter: Remembering José Rubio Ivory Lute: Questions Remain Ivory Lute: Picture This Review: Classic Gutiar Making by Arthur E. Overholtzer Review: Guitar Repair “A Manual of Repair for Guitars and Fretted Instruments” by Irving Sloane Review: The Modern Harpsichord by Wolfgang Joachim Zuckermann Review: Julian Bream: A Life on the Road by Tony Palmer Review: Identifying Wood: Accurate Results With Simple Tools by R. Bruce Hoadley Review: Selected Articles from VSA Journal Review: Appraisers Reference Manual of Authentic String Instruments and Bows by Thomas E. Florence Review: The Early History of the Viol by Ian Woodfield Review: The Manuscript on Violinmaking by Giovanni Antonio Review: Making Guitar 1 by Daniel Fort and Owen Riss Review: Violin Set-Ups and Adjustments by Dan Erlewine and Paul Newson Review: Geometry, Proportion, and the Art of Lutherie by Kevin Coates Review: The New Yorker Special by Frederick Cohen Review: The Ultimate Guitar Book by Tony Bacon Review: How to Make a Violin Bow by Frank V. Henderson Review: Guitar Player Repair Guide by Dan Erlewine Review: The Luthier’s Mercantile Catalog for Stringed Instrument Makers Review: The Workbench Book by Scott Landis Review: Guitar and Vihuela: An Annotated Bibliography by Meredith Alice McCutcheon Review: Steel-String Guitar Construction by Irving R. Sloane Review: Building a Herringbone Style Acoustic Guitar by Don MacRostie and Dan Erlewine Review: Experimental Musical Instruments Review: Fine Woodworking Design Book Five Review: Setar Construction, An Iranian Musical Instrument by Nasser Shirazi Review: Checklist of Technical Drawings of Musical Instruments in Public Collections of the World by Rob van Acht Review: Making Stringed Instruments — A Workshop Guide by George Buchanan Review: 1/1: Quarterly Journal of the Just Intonation Network Review: From the pages of Experimental Musical Instruments, Volume 1 Review: The Fender Guitar by Ken Archard Review: Physics and Music by Neville H. Fletcher Review: The Science of Sound by Thomas D. Rossing Review: How to Repair Your Diatonic Accordion or Concertina by John Townley and Jehan Paul Review: Italian Violin Varnishes by George Fry Review: The Technique of Violin Making by H.S. Wake Review: A Catalogue of Pre-Revival Appalachian Dulcimers by L. Allen Smith Review: The Modern Classical Guitar For Friend or Builder by Donald M. Sprenger Review: SMAC83: Proceedings of the Stockholm Music Acoustics Conference edited by Askenfelt, Felicetti, Janson, and Sundberg Review: Guitars: From the Renaissance to Rock by Tom Evans and Mary Ann Evans Review: L’ELAN Review: The Gibson Guitar (Volumes 1 & 2) by Ian C. Bishop Review: First Bass Review: The Flamenco Guitar by David George Review: The Luthiers Mercantile Catalog for Stringed Instrument Makers Review: Lutes, Viols and Temperaments by Mark Lindley Review: 1996 & 1997 Luthier’s Art Review: Guitars and Mandolins in America Featuring the Larsons’ Creations by Robert Carl Hartman Review: Constructing the Mountain Dulcimer by Dean Kimball Review: The Guitar in America, Victorian Era to Jazz Age by Jeffrey J. Noonan Review: With Strings Attached: The Art and Beauty of Vintage Guitars by Jonathan Kellerman Review: Building the Kamanché by Nasser Shirazi Review: How to Make a Living Doing Something Crazy — Like Making Guitars by Kent Carlos Everett Review: Guitar Voicing Class with Ervin Somogyi Review: Violin Rehairing with Roger Foster Review: Classical Guitar Making, A Modern Approach to Traditional Design by John S. Bogdanovich Review: Lyre-guitar: Etoile charmante, between the 18th and 19th centuries by Eleonora Vulpiani Review: Les Luths (Occident) Review: Engineering the Guitar: Theory and Practice by Richard Mark French Review: Step by Step Guitar Making by Alex Willis Review: The Ukulele by Denis Gilbert & Ukulele Design & Construction by D. Henry Wickham Review: French Polishing for Guitarmakers 2.0 by Dr. Ronald Louis Fernández Review: More on Somogyi’s Responsive Guitar Review: The Mandolin Project by Graham McDonald Review: Building the Selmer-Maccaferri Guitar by Michael Collins Review: La Chitarra di Liuteria — Masterpieces of Guitar Making by Stefano Grondona and Luca Waldner Review: The Responsive Guitar & Making the Responsive Guitar by Ervin Somogyi Review: A Guitar Maker’s Manual by Jim Williams Review: Violin-Making as It Was, and Is by Ed. Heron-Allen Review: The Fine Guitar by José Oribe Review: The Strad Facsimile — An Illustrated Guide to Violin Making by Edwin John Ward Out of the Basement Review: Stradivari by Stewart Pollens Review: Classic Guitar Making by Arthur E. Overholtzer A Scene from Dickens Sharpening the Stellite Teeth on the 3″ Hitachi Blade Curing and Grading Lutherie Lumber Constructing the Middle Eastern Oud, Part Two Three Holes are Better than One Sideways Three Craftsmen Woes of a Wood Merchant
