Posted on September 9, 2026September 25, 2026 by Dale Phillips Eight Concerns of Highly Successful Guitar Makers Eight Concerns of Highly Successful Guitar Makers by R.E. Bruné from his 2001 GAL Convention lecture Originally published in American Lutherie #79, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Many of you know a little of my history, but I’ll say a bit more so you’ll understand where I’m coming from and why I will espouse some of the radical ideas that you may hear today. I began playing guitar in the early 1960s when I was just a teenager. I taught myself flamenco, then moved to Mexico City in 1968 and lived there for two years. I played in flamenco troupes for a number of dancers and singers including Roberto de Ronda, Lola Golan, and La Poli. Later I worked with other singers like Pepe Culata and Agujetas (Manuel de los Santos). So I began my career by struggling to make a living as a musician. My attitude toward the instrument was from the standpoint of a player. 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 September 9, 2026October 29, 2026 by Dale Phillips Manuel Reyes: Guitarrero Manuel Reyes: Guitarrero by R.E. Bruné Originally published in American Lutherie #84, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 See also, 2003 Manuel Reyes Flamenco Guitar by Tom Blackshear Born in 1934 in Jayena, Granada, Manuel Reyes moved with his family to Córdoba in 1944 and began his association with the guitar in 1949. In this same year he begins his personal diary in which he records his lifelong love affair with the instrument. It was through a friend named Señora Carmen Luque that Manuel was introduced to lutherie. She allowed Manuel to borrow a dilapidated guitar in need of restoration which Manuel proposed to study for the purpose of making a copy for his own use and also to have the instrument restored for Sra. Luque. Realizing that perhaps the restoration was more than he had bargained for, Manuel took the guitar to the shop of Miguel Rodríguez in Córdoba, who quoted 250 pesetas for its restoration (about $10 in today’s money). However, Manuel’s father objected, not because of the cost, but because he feared that Manuel would be lured by the siren call of the guitar, and like his grandfather who was also guitarist, spend too many hours away from his family playing the guitar. So Manuel went to friends who were carpenters and prevailed upon them to loan him their tools and supplies in order to try to restore the guitar himself. After six months he was unsatisfied with the results and decided to make a guitar from scratch for himself, which after some time he completed. The same month he finished the guitar, he made the acquaintance of Joaquin Sánchez Galisteo, who had been a student and employee of Miguel Rodríguez the elder; and as Manuel describes this association, Joaquin became his maestro. 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 August 26, 2026August 26, 2026 by Dale Phillips Lutherie: Yesterday, Today, And Tomorrow Lutherie: Yesterday, Today, And Tomorrow by R.E. Bruné Originally published in American Lutherie #107, 2011 Tim Olsen: People who like GAL Conventions should thank R.E. Bruné, our presenter today, because he invented the GAL convention in 1975 when he organized and presented the first one. He’s the founder of a lutherie family dynasty, now beginning its third generation. No instruments from that third generation yet, although I believe that Peter is walking now. (laughter) R.E. Bruné was on the GAL’s first mailing list of forty people. Few of us had anything to offer in the way of information; mostly we had enthusiasm and curiosity. But he was an example of generosity, honesty, and balance that has certainly been an inspiration to me and I think to thousands of others over these many years through the medium of the GAL. So please welcome one of our founders, R.E. Bruné. (applause) The GAL today is the modern organizational manifestation of a formal trade which extends back over five centuries of time. Since there has been music, there have been luthiers, even though they may not have been known by that name. Before I begin however, I would like to recognize some vital folks who have made it possible for us to be here today, starting with J.R. Beall. As the Founding Father of the GAL, he conceived and put in motion the whole concept which we call the Guild of American Luthiers. J.R., who I have known for over forty years, is a true American genius and an inspiration to be around. His many and diverse interests, of which lutherie is but one, are staggering. He is truly an exceptional creator of the highest order. The GAL staff have kept this organization running for forty years through good and tough times, and we are here today because of their tireless efforts. But I would be remiss if I were to omit the most important element of the Guild, and that is you, the membership, for as any good luthier knows, a musician without an audience is like a tree falling in a forest without the philosopher there to hear it. 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 April 16, 2026April 16, 2026 by Dale Phillips Remembering Julian Bream Remembering Julian Bream by Cyndy Burton, José Romanillos, R.E. Bruné, Jeffrey R. Elliott, Kevin Aram, Gary Southwell, and Simon Ambridge Originally published in American Lutherie #142, 2021 Julian Bream was born on July 15, 1933, and died on August 14, 2020, one month after his 87th birthday. The accolades that followed were online and in print everywhere, and were consistently filled with superlatives praising his genius as a classical guitarist, his tireless commissioning and presentation of new guitar repertoire from notable contemporary composers, and his teaching and creating opportunities for the next generation of classical guitarists. But commonly overlooked in descriptions of Julian Bream’s achievements in his long career, are the fruits of his relationships with the handful of classical guitar makers he chose to build for him. He sought the best classical guitars possible to serve his musical purposes and, at the same time, inspired their makers to improve their art and craft. We are fortunate that those luthiers are represented here, and that they’ve offered memories of their interactions with Julian Bream. — Cyndy Burton 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.
