Posted on January 16, 2026January 16, 2026 by Dale Phillips Making Kerfed Lining: A Huss & Dalton Shop Story Making Kerfed Lining: A Huss & Dalton Shop Story by John Calkin Originally published in American Lutherie #72, 2002 and Red Book of American Lutherie, Volume Six, 2013 The focus of all my early lutherie work was to stay cheap. Prepping locally obtained alternative wood was time consuming, but back-and-side sets of cherry, birch, and walnut cost almost nothing in cash. This was a time when Indian rosewood sets cost in the mid-$20s, and I never bought any. I did allow myself the one-time luxury of a fine set of koa for $45, but otherwise I stayed away from the tonewood market. Being so destitute, there was no way I was going to pay for commercial lining. I forget the price of lining in 1980, but a guitar’s worth cost more than my wood sets, so I made my own. Not that it was a work of art. Nor did I care much that my lining was pretty rough. I had scant prospects of selling my instruments, and I wasn’t worried about impressing myself with the interior of my instruments. This had to change as the market opened up and the expectations of guitarists grew accordingly, but initially all my lining had to do was hold the plates to the sides and leave enough material to support the binding and purfling. My early lining left plenty of material. 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 January 15, 2026January 15, 2026 by Dale Phillips Kit Review: Musicmaker’s Irish Bouzouki Kit Review: Musicmaker’s Irish Bouzouki by John Calkin Originally published in American Lutherie #71, 2002 Sometime in the 1970s an Irish musician introduced a Greek bouzouki to his band’s lineup, and the seed for a new instrument was planted. As interest spread, the inherent problems with the Greek instrument were addressed by the luthiers who were called upon to make the bouzouki more palatable to contemporary players who were undaunted by a long tradition with the beast. The staved bowl back gave way to a flat back, and the scale length shrank to proportions more manageable for lead work. Still, the light demand for the Irish bouzouki has not tempted the larger instrument companies to gear up for production, with the result that no industry standard has been set. Both flattop and carved-top examples are found, and dimensions and shape vary widely according to the whims of luthiers and the needs of musicians. Even the name of the new hybrid has escaped standardization, and Irish bouzoukis might also be called citterns, octave mandolins, or mandocellos. Some luthiers build variations on the theme and change the names in an attempt to avoid confusion, calling a 4-course instrument a bouzouki and a 5-course instrument a cittern. So far, you can build it as you please and call it what you want. The musicians who want them don’t seem to be all that confused by the matter. 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 January 15, 2026January 15, 2026 by Dale Phillips Partial Refrets Partial Refrets by John Calkin Originally published in American Lutherie #90, 2007 Partial refrets are a somewhat different matter than a full refret. Full refrets are often done for reasons other than worn frets, such as a compression refret to take excess relief out of a neck with a nonoperative or nonadjustable truss rod, or to allow a fretboard hump at the body joint to be dressed out. Partial refrets are usually performed on an instrument that has been played exclusively on the first few frets. Those frets have been grooved by the strings to the point where the strings buzz on the seldom-used frets. Most of the time I like to replace a couple of the unmarred frets as well just to play it safe. Occasionally a fret in the middle of the fretboard gets damaged and must be replaced. The procedure for this is similar to a partial refret for worn frets. There are other reasons to perform a partial refret, such as installing taller frets by the nut to make a slightly back-bowed neck playable, but these considerations are not covered here. I used to dislike partial refrets and tried to talk the customer into a full refret. This insured that the same fretwire covered the entire fretboard and also put more money in my pocket. After a slight mental adjustment and some practice at partial refrets I have come to look forward to them. The money involved is less, but partial refrets are normally far less complicated than a full refret and take a predictable amount of time. 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 January 15, 2026January 15, 2026 by Dale Phillips Meet the Maker: Graham McDonald Meet the Maker: Graham McDonald by John Calkin Originally published in American Lutherie #97, 2009 Graham McDonald has made significant contributions to American Lutherie over the years and has attended several GAL conventions, quite a long trek for an Australian. He’s written two books, The Bouzouki Book and The Mandolin Project, and has presented convention workshops to support both of them. I had the good fortune to have my convention display table next to Graham’s one year. He’s a reserved individual with perhaps the driest sense of humor on the planet. As we are both quiet guys, we shared little conversation, so I welcomed this opportunity to get to know him better. As a longtime Aussophile I couldn’t help starting out with questions about his homeland. In what part of Australia do you live? We live in Canberra, the national capital. It is a city of around 300,000 in the mountains about 200 miles southwest of Sydney and built specifically as the national capital. Life is lots slower than in the big cities and the climate is just about perfect for lutherie. Unless it is actually raining, the humidity is around 40% every afternoon. We don’t get much more than a frost on winter mornings with most winter temperatures in the 50°s (Fahrenheit). An oil column heater in the workshop keeps it warm enough most of the time. Summer is hotter with maximums up around 100°F, but again with low humidity. It can get down to 20% humidity on a hot summer’s afternoon, but a workshop humidity meter and an online weather station means that it isn’t real hard to know when it’s gluing time. 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 January 15, 2026January 15, 2026 by Dale Phillips Meet the Maker: John Calkin Meet the Maker: John Calkin by Lamar Scomp Originally published in American Lutherie #99, 2009 John Calkin lives in my neighborhood. He’s trying to teach me to build guitars. We talk about lots of things, but we always start with guitars. Finally he says to me, “Lamar, why don’t we talk into a tape machine about me, and if it’s any good, I’ll type it up and send it in.” Well shoot, with a confidence boost like that, who could say no? So here’s the talkin’ — if’n he liked it. Where was you born, and how come you’re here in Virginia? Don’t jump in time so fast, Lamar. You’ll get the hang of this as we go. I was born in New Jersey. It was a good place to be a boy when I was one. Now it’s not a good place for anyone, and that’s why I’m in Virginia. 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.
