Posted on February 23, 2026February 23, 2026 by Dale Phillips Meet the Maker: David Cohen Meet the Maker: David Cohen by Roger Alan Skipper Originally published in American Lutherie #99, 2009 DR. Dave Cohen, of Cohen Musical Instruments, crafts guitars, mandolins, mandolas, octaves, and mandocellos in Richmond, Virginia. During a sabbatical from the chemistry classroom, Dave seized the opportunity to study the mandolin’s vibrational properties with Dr. Thomas Rossing at Northern Illinois University. From this and other studies he has produced a number of lectures and publications to complement his instruments. Dave, your website mentions a “lifelong interest in science, woodworking, and stringed instruments.” What kinds of woodworking did you do prior to lutherie? My grandfather was a carpenter, and my dad was a civil engineer. Dad knew I’d value something I made more than something I bought, so as a kid, I was always making things with my dad, using my grandfather’s tools. Between the early ’70s and the mid-’90s, I built furniture, mostly casework, that was strongly influenced by James Krenov and Sam Maloof. They still influence my stringed-instrument design. Lutherie is woodworking. Lutherie, though, integrates my background in science and mathematics, and music. I love that part of it. If lutherie were simply reproducing the instruments of the past, I doubt that I would have made more than a few instruments. 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 February 20, 2026February 20, 2026 by Dale Phillips Torres Guitar Restoration Torres Guitar Restoration by R.E. Bruné Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie, Volume Three, 2004 In March of 1986 I received in my workshop an 11-string guitar by Antonio Torres made in Almeria in 1884, and numbered #71. This instrument being perhaps unique in the world today for Torres’ work, it was imperative that it be adequately documented and ideally, restored as close as possible to original playing condition. The owner was quite anxious to pursue this course also, with the ultimate goal of selling it on the open market. Surviving guitars by Torres are quite rare, being limited to fewer than seventy known instruments, and this example is perhaps the only 11-string example remaining, although Prat alludes to two others in his Diccionario under the listing for Torres. It is not clear whether he is referring to the same instrument owned by several different people or different instruments owned by different people. Although Torres numbered his instruments made from 1880 until he died in 1892, apparently there is no surviving record of the details of each instrument nor who the original owners were. (Editor’s Note: After this article was written, José Romanillos published his excellent book, Antonio de Torres, Guitar Maker — His Life and Work. In it he presents photos, drawings, and descriptions of another surviving Torres 11-string, #83. Author Bruné urges all to acquire and study this book.) 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 February 20, 2026February 20, 2026 by Dale Phillips Mario Maccaferri: Feisty As Ever Mario Maccaferri: Feisty As Ever by Michael Dresdner Previously published in Vintage Guitar Bulletin Originally published in American Lutherie #2, 1985 At the age of, Mario Maccaferri has achieved that elusive and enviable status of being a “legend in his own time.” Known to some as an industrial designer and inventor, to others as a plastics magnate (he was the inventor of the plastic clothespin!), and to still others as an outstanding luthier and musician, he has left his mark on many fields in the course of his successful career. Among guitarists, Maccaferri is most well known for the interior resonator guitar which he designed and built for the Selmer Company of France in the 1930s, and which jazz players and guitar collectors associate with the great Gypsy guitarist Django Reinhardt. But this guitar was only one of Maccaferri’s many innovations in the world of lutherie. 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 February 20, 2026February 20, 2026 by Dale Phillips An Interview with Richard Schneider An Interview with Richard Schneider by Michael Keller Originally published in Guild of American Luthiers Quarterly, Volume 6, #4, 1978 During the recent Guild of American Luthiers Convention in Winfield, Kansas, I had the pleasure of a brief interview with the renowned luthier, Maestro Richard Schneider, known for his development of the radically innovative Kasha Design soundboard guitar. He delivered several mind-blowing lectures and demonstrations on the physics-based theories behind the guitars. The original concepts for the new system of building was developed by Dr. Michael Kasha, Director of the Institute of Molecular Biophysics at Florida State University. Working together over the last eleven years, they have brought the guitar to a new level of development no seen in the world since Torres introduces his new bracing pattern over a hundred years ago. Having apprenticed to one of Mexico’s most famous luthiers, Maestro Juan Pimentel, Mr. Schneider now makes Kalamazoo, Michigan his home, where he is employed as a consultant to Norlin Music Inc., Gibson’s Parent Company. Those who were able to attend the beautiful concert by the extremely talented artist, Jeffery Van, performing on two Schneider long model concert guitars with Kasha soundboard and bridges. I would like to ask the question concerning the Kasha design that most guitar makers who are interested would ask. How does someone obtain information and drawings so they can try building such guitars? There are several sources that I can think of that explain the concepts and have a soundboard drawing. The first I would recommend would be Britannica Yearbook of Science and the Future, 1974: ADVENTURES IN THE PHYSICS OF STRING INSTRUMENTS - From Model Physics to Modern Instrument, by Michael Kasha. That article conveys the principles very clearly. For available blueprints, the best source would be the Builder’s Manual, Guitar Edition, Copyright 1972 by Michael Kasha. Unfortunately, this is no longer available, and even more unfortunate, many people who sent for them didn’t receive them due to contract commitments with a large corporation. However, some were mailed out and several members of the G.A.L. do have copies. It’s just a matter of sharing, I suppose. There is also another article available in SCIENCE NEWS, Vol. 98, 180, August 29, 1970, by Alan Perlmeter which describes some of the theories and has a soundboard pictured. 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 February 20, 2026February 20, 2026 by Dale Phillips Refining Factory Setups on Electric Guitars: Going the Extra Mile Refining Factory Setups on Electric Guitars: Going the Extra Mile by Erick Coleman and Evan Gluck from their 2011 GAL Convention workshop Originally published in American Lutherie #110, 2012 Erick Coleman: Evan has operated New York Guitar Repair in Manhattan since 2004, and in that time he’s seen more than 10,000 guitars. I work at Stewart-MacDonald and I have my own repair shop, so I see a lot as well. Today we’re going to talk about fine tuning brand-new electric guitars: the fret work may not be perfect, nuts can be improperly cut, and bridges may be set up incorrectly. We ordered brand-new inexpensive but decent Fender and Gibson guitars in the $500 street-price range. Now we’re going to open the boxes for the first time and address any problems. Evan Gluck: A lot of these guitars are set up for instant gratification at the store; the action is high, so there are no buzzes. Erick: I have a Gibson Melody Maker. Evan: This is a newer-style Fender Jazzmaster called a Blacktop. 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. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
