Posted on July 1, 2024May 22, 2025 by Dale Phillips Questions: Instrument Plan #33 Questions: Instrument Plan #33 by R.E. Bruné Originally published in American Lutherie #101, 2010 Joe Franklin of Whitesburg, Tennessee asks: Regarding GAL Instrument Plan #33 (1937 Hauser by R.E. Bruné): Are the depth dimensions as annotated on the back view the inside or outside dimensions? Plan author R.E. Bruné of Evanston, Illinois answers: The side measurements given around the circumference of the instrument are the measurements I took of the total outside dimensions at those points, so one would have to subtract the specific top and back thicknesses at those points to arrive at the actual side dimensions prior to cutting the purfling/banding channels. For those making replicas, getting this correct within ±1MM would suffice in my opinion, but I know the favorite pastime of luthiers is splitting hairs and arguing over which is the bigger half. Actually, I suspect the original dimensions may have been slightly bigger by about .25MM to .5MM but have retracted due to shrinkage. There is nothing in the side assembly that would prevent the sides from shrinking from dryness, and they are just about crack-free because of this. It seemed to me that the instrument was originally built under fairly high humidity conditions, or at least part of it. The back has no arch left in it, probably because of shrinkage; this is also a question I have been frequently asked. I drew the instrument as is, where is, with no attempt to “correct” what I thought might have been the original state. I leave this to other scholars.
Posted on June 6, 2024May 27, 2025 by Dale Phillips Letter: Facts Regarding Juan Serrano Letter: Facts Regarding Juan Serrano by David Macias Originally published in American Lutherie #86, 2006 Hi Tim, I enjoyed the R.E. Bruné piece on Manuel Reyes, and Cordoba in general in American Luthierie #84. My reason for writing is that there is a bit of misinformation on Juan Serrano. Maestro Juan Serrano’s father, Antonio Serrano, was known as Antonio Del Lunar. El Habichuela was and is someone else. Also the falseta recording played on the town clock is a Solea, and not a Siguiriyas, as stated. I asked Juan a few days ago, just to have my facts straight. He assured me that I was right. Maestro Serrano and I have been close friends for some twenty-six years. He has told me many stories about his life, his family, and his career. I am also very proud to say that Maestro Serrano was my flamenco guitar teacher for many years, and prouder yet that he has been playing his concerts on guitars that I constructed for him. R.E. Bruné responds: I appreciate David Macias’ additional corrections and information in response to my article. The quote about El Habichuela being Juan Serrano’s father and the teacher of Manuel Reyes came directly from the interview of Manuel Reyes in Flamenco International Magazine (July–September 1998, p. 19), and at the time I read it, it didn’t ring true to me either, as I know the large Habichuela Gypsy clan to be from the Sacromonte of Granada, not Cordoba. However, as there have been several unrelated artists over the centuries using the “Habichuela” name, I figured the anonymous interviewer’s direct quote would trump my own vague memory. Wrong! Mr. Macias is quite correct. I remember first meeting Juan Serrano around 1966, and he did mention his father was known as Antonio del Lunar (Antonio, he of the mole). I should have remembered this, as he is not to be confused with Perico el del Lunar who played for many years at La Zambra in Madrid and was the accompanist on the first anthology of Cante Flamenco issued by Westminster records in 1955. Likewise, my memory of the Cordoba clock tower music dates to my first visit to Spain in 1967, nearly forty years ago, and obviously is not as precise as I would prefer. This is the reason why for many decades now I have been photographing and making notes of all the great instruments that pass through my hands, as I knew it was only a matter of time when my sharp memory and dull tools would begin to change place. Thanks also and best wishes to Maestro Serrano, who is without doubt one of the great flamenco figuras of the 20th century. ◆
Posted on March 7, 2024March 7, 2024 by Dale Phillips The Business of Lutherie, 1980 The Business of Lutherie, 1980 by Richard Bruné, George Gruhn, Steve Klein, Max Krimmel, and Robert Lundberg Originally published in Guild of American Luthiers Quarterly, Volume 9, #4, 1981 and Big Red Book of American Lutherie Volume One, 2000 See also, The Business of Lutherie, 1984 by Ted Davis, Steve Grimes, Bob Meltz, and Matt Umanov Where Are They Now? by Tim Olsen We luthiers who are part of the late-’60s, early-’70s lutherie boom are now witnessing a remarkable event. A generation of instrument makers is coming of age. We have heard much of late about the steadily improving quality and sophistication of our instruments, and we have seen a number of major talents emerge from the pack to achieve wide recognition and respect. As this maturation of skill develops, business ability becomes the deciding factor between failure and success. While the discussion of business skills and theories is, in fact, the subject of this article, thoughtful readers will note that a mature attitude toward our craft is beginning to prevail. The naïve thralldom to the instrument is being replaced by a realistic understanding of our limits and abilities, and an unwillingness to suffer simply because of our love of lutherie. 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 1, 2022May 19, 2025 by Dale Phillips On Becoming a Successful Luthier On Becoming a Successful Luthier by R.E. Bruné Originally published in Guild of American Luthiers Newsletter Volume 2 #6, 1974 A question I am often asked by visitors to my shop and other luthiers, is, “are you making it?” as if to say “anyone who looks like he’s having such a good time doesn’t deserve to make money too.” Well, I am happy to report that yes, I’m “making” it. To be judged a successful luthier, I think it is really necessary to examine exactly what “Success” is, especially in terms of today’s somewhat unstable economic climate. Unfortunately, for many of this country’s working people, the only tangible measure of success is the monthly bank statement. The balance of the account has become the end in itself, and the product be damned. 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 May 6, 2021May 21, 2025 by Dale Phillips Lutherie: Art or Science? Lutherie: Art or Science? by R.E. Bruné Originally published in American Lutherie #1, 1985 Aside from the eternal “How do you bent the sides” question asked by non-makers, the most frequent point of curiosity seems to be that of other makers: “What do you think of the Kasha guitar?” I am somewhat surprised at this. Firstly, it doesn’t really matter what I think of the Kasha model. I don’t build it, and I would think this fact says enough. The second point is that the Kasha model and theories have been around for enough years (nearly twenty if I’m correct) that, were there merit in the model, it would have been almost universally adopted by makers and players by now. It took less than twenty years for the conservative makers of Spain to adopt the design ideas of Torres, for by the time of his death just before the turn of this century, nearly every Spanish maker with the exception of José Ramírez I was using his model. The reason for this nearly overnight conversion is obvious; the models of Torres were clearly superior to anything else available, and the musicians quickly accepted them. In fact, the makers who didn’t adopt his patterns went out of business. In contrast, one does not see musicians today playing the Kasha model. I know of no professional classical guitarists playing them, and in the nearly twenty years I have been involved in the guitar world, I have never been to a concert where a Kasha model guitar was played. Yet it seems there has hardly been an issue of the G.A.L. Quarterly without some article or reference to the Kasha model as if it were definitive, and desirable. 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.
