Posted on March 1, 2025May 14, 2025 by Dale Phillips Mending a Bomber Mending a Bomber by John Calkin Originally published in American Lutherie #89, 2007 It’s probably inevitable that repairpeople develop an affinity for certain instruments, and the reasons aren’t always rational. I like Gibson B-25 guitars. One such was the best sounding Gibson guitar I’ve ever encountered, and the model is loaded with factory funk. The B-25 Mitchell has always been one of my favorite World War II airplanes, which predisposed me to like a guitar with the same model number. Not rational, but there you have it. When a new customer dropped a smashed up B-25 in my lap — the guitar, not the bomber — I was prepared to make him two promises. First, for $200 I could make it as good an instrument as it ever was. Second, it wouldn’t be pretty. The guitar top had been punched behind the pickguard, creating a wicked crack that traveled across the guitar in front of the bridge, then cut back under the bridge and out the back side. A leg of the X brace had been torn loose in the process. The bridge plate was creased through the pin holes creating a nasty hump in the spruce that I couldn’t push down. But most of the big crack could be forced into place with finger pressure and the edges mated nicely. I didn’t think the job would be that big a deal. I could have suggested refinishing the top to hide the scar, but the process would have erased most of the weird factory charm of the guitar. I was also pretty sure that the $500 tag would have scared off the customer. For about $700 the instrument could have been retopped, essentially restoring it to factory newness. As it turned out, the man had bought the broken guitar for $55 and was leery of putting even $200 into it. His companion urged him to go for it, and I pointed out that he’d have a difficult time finding as good a guitar as he’d end up with for anything like $255, so he consented to the repair. Sometimes getting a job you want to do requires a bit of polite arm twisting. 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 January 13, 2025May 14, 2025 by Dale Phillips Meet the Maker: John Kitakis Meet the Maker: John Kitakis by John Calkin Originally published in American Lutherie #67, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Those who didn’t make it to the 2001 GAL Convention, or have been otherwise holed up in their shops, may not even be aware that we’re in the middle of a rebirth of the ukulele. There are more uke manufacturers than at any time in recent memory, and a growing number of independent builders have surfaced to satisfy the high-end market. The shop of John Kitakis, Ko’olau Guitars and Ukuleles, is a family enterprise that began with guitars but found that the real market was in ukes. His story is a good one, and you’ll be glad you met him here. 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 July 1, 2024May 30, 2025 by Dale Phillips Questions: Wenge Questions: Wenge by John Calkin Originally published in American Lutherie #61, 2000 See also, Questions: African Wenge by Jeffrey R. Elliott John Calkin of Greenville, Virginia responds to Milan Sabljic’s question regarding wenge and Willy Ware’s questions regarding superglue’s interaction with finishes. Wenge is hard, yet very brittle. Splinters are a constant threat. There’s also a striking difference in hardness between the wood from different seasons. I recently made a copy of a Gibson L-00 with wenge sides that were sort of quartered and a back that was flatsawn. Keeping the back free of ripples was a nasty task involving a lot of block sanding. It’s almost as bad as softwood in this respect. Wenge is also one of those surprise woods that attack some people. The man who gave me my first piece of wenge said it gave him an intense headache when he resawed it. The exact same board had no affect on me. Superglue drop fills: At Huss & Dalton we do drop fills on conversion varnish all the time, and they are invisible. In my own shop I’ve found that with lacquer and Crystalac it should be used between coats so that it can be aggressively sanded flat, otherwise the fills are devilishly hard to hide. Fills used on the surface usually leave a witness mark around the perimeter. Even when the feather-out is perfect and the surface looks and feels dead-on after flat sanding, the fill is often visible after buffing. Finish repairs done in superglue look much better than the ding or scratch, but they are seldom perfectly invisible. Awhile back I resurrected a much-abused mahogany parlor guitar of low value. The back was cracked and dented, and I did all the repair work with dozens of puddles of superglue. The back stabilized wonderfully and looked perfectly flat after sanding. After French polishing it looked like a new guitar, but after a couple days every fill telegraphed through the shellac. More wetsanding and polishing followed, but the fills kept coming through. I finally had to tone down the gloss to make the work acceptable. My customer was thrilled, but I wasn’t happy at all. I’ve decided that the smallest amounts of CA glue possible should be used on instruments, and if possible it should be mixed with sanding dust to stabilize it. The stuff is a life saver, but it’s not quite God’s gift to lutherie. ◆
Posted on July 1, 2024May 23, 2025 by Dale Phillips Letter: Instrument Resurrection Stories Letter: Instrument Resurrection Stories by John Calkin Originally published in American Lutherie #96, 2008 Hello Tim and Everyone in GAL Land — I’ve been receiving some interesting e-mails lately having to do with the instrument resurrection stories I wrote. They’re not so much about the repair issues, but about work ethics and dealing with customers, as well as the stresses of overwork and handling burnout. Anyone busy enough to feel overworked at this point in time should only feel grateful. During the fifteen years I ran my own shop in New Jersey I serviced most of a county and four music stores and drew customers from both the NYC and Philly metropolitan areas, but forty hours of work in a week was a rarity. I had good uses for the down time, but more work would have been nice. 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 July 1, 2024July 9, 2024 by Dale Phillips Letter: Price of Vintage Instruments Letter: Price of Vintage Instruments by John Calkin Originally published in American Lutherie #61, 2000 Tim, Chris Foss isn’t the only one baffled by the cost of vintage instruments. I’ve wanted to believe right from the start that the vintage scene was a shuck created by a few knowledgeable dealers who spread their gospel from regular columns in the music rags. The truth, no doubt, is that any old thing you can point to is interesting to someone, and that once enough people show an interest that thing becomes collectible and the price shoots up. Some objects are life enhancing, and different people find different objects. Folks who collect old porcelain don’t eat off their collection. Antique chairs may never be allowed to perch a human. There are no doubt instrument collectors who never play their guitars. It’s not a shame, it’s just the way it is. 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.
