Posted on July 31, 2026July 31, 2026 by Dale Phillips Meet the Maker: Alan Carruth Meet the Maker: Alan Carruth by Tom Harper Originally published in American Lutherie #112, 2012 If curiosity really did kill the cat, the cat should have talked things over with Alan Carruth before the situation got so desperate. Alan has been curious all his life and has not only survived, but thrives on it. Fortunately for us, Alan’s curiosity has been regularly applied to the musical instrument world for around forty years and he likes to share what he learns. He has been actively involved with the Guild for at least thirty years, researches musical acoustics, teaches lutherie, produced a DVD demonstrating his method of free plate tuning, and can be found providing lots of information in various Internet venues for instrument builders. He also produces a line of imaginary tools, but you will need to go to his website to learn more about them. I got a chance to sit down with Alan several times during the last GAL Convention to find out more about what makes him tick. Tell us a little about your formative musical interests? I mostly listened to classical music as a kid, but like lots of other people, I got interested in folk music when the ’60s folk scare happened. That’s when I got my first guitar, which was a cheap nylon-string Japanese import called a Howard, named after the son of the guy who imported it. I wanted a guitar with nylon strings because that’s what Paul of Peter, Paul, and Mary played. Or was that Peter? I can never keep those guys straight. 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 22, 2026April 22, 2026 by Dale Phillips Hunting the Elusive Guitar Wolf Hunting the Elusive Guitar Wolf by Alan Carruth from his 2011 GAL Convention workshop Originally published in American Lutherie #114, 2013 About that title: Please note that it’s hunting the wolf, not finding. These things are often hard to find, but generally easy to kill once you’ve found them. So I’m going to discuss what the wolf is, where it tends to lurk, and how you can go after it in a more-or-less organized fashion. As in any hunt, we’ll need to think about what the prey is, and its natural history: where it prowls, what it feeds on, and so forth. I use a pretty broad definition of a wolf: It’s a bad note linked to some feature of the resonant structure of the instrument or strings. “Bad” has to be seen in context: We usually want our guitars to be loud, but one loud note in the middle of a group of softer ones is a wolf, or a soft one in the middle of a bunch of loud ones is a wolf. Wolves can thud, or warble, or just plain sound different. Like pornography, it’s hard to define but easy to recognize. 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 July 1, 2024May 22, 2025 by Dale Phillips Letter: Technical Qualm with Jim Blilie’s Article in AL#100 Letter: Technical qualm with Jim Blilie’s article in AL #100 by Alan Carruth Originally published in American Lutherie #101, 2010 Tim — I really enjoyed AL#100. It’s a nice mix of “technoid,” “art,” and “craft” articles. Lots of good info, but I did see a couple of things I wanted to respond to. First, in Jim Blilie’s article, which was excellent overall, I have a disagreement that rises above the level of minor. He says, on p. 31: “The fact that the relationship between stiffness (Young’s modulus) and density is inherently linear shows that just changing wood species doesn’t affect the stiffness-to-weight ratio very much.” The problem with that is, while the lengthwise Young’s modulus (E) values for both hardwoods and softwoods tend to fall on straight lines, they are different lines, owing to differences in basic structure in the woods. I’ve been measuring the properties of wood samples for several years. I’m enclosing a graph of long grain E vs. density for most of the pieces I’ve measured so far (147 samples), with eyeballed “average” lines drawn in. The softwoods include all of the usual-suspect top woods, as well as white pine and Mediterranean cypress. As you can see, the points fall very close to a straight line toward the left side of the chart. The hardwoods include a lot of lutherie woods (most of the samples are Indian rosewood), and some others, with balsa and blackwood being the end points. As you can see, the scatter of the points is greater, but they do at least suggest a line. One could, of course, draw a single line that took in all of the data points, but at the cost of accepting quite a lot more scatter in the softwood data. Given the relative homogeneity of softwood structure, this seems unwarranted. Besides, the resulting line would not approach the origin at all closely, which would be illogical. As is, the hardwood line is in no way an extension of the softwood line. Balsa, and yew, ’way down on the left, overlap the softwood area, as do a few of the softer hardwoods, such as butternut. Still, compared with the softwoods, hardwoods tend to have higher density for the equivalent E value. 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 June 30, 2024May 14, 2025 by Dale Phillips The “Corker” Guitar: A Sideport Experiment The “Corker” Guitar: A Sideport Experiment by Alan Carruth Originally published in American Lutherie #94, 2008 Over the past few years there has been something of a trend for cutting holes of various sizes and shapes in the sides of guitars. (Editor’s note: See AL#91 pp. 6–13 for more on soundports.) While a hole in the side of the guitar might or might not directly affect the way the top and back (the main sound-producing surfaces on most guitars) vibrate, it could certainly be expected to affect the vibrations of the air inside the box. I became interested in this when a customer asked if I could build a guitar with a port. Since I’m the sort of guy who likes to have a map when I’m going into new territory, I looked up what information I could find. There was a certain amount on air resonant modes, but not much treating ports, so I decided to do an experiment. 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.
Posted on June 13, 2024May 16, 2025 by Dale Phillips Octet 2005: First Convention of the New Violin Family Association Octet 2005: First Convention of the New Violin Family Association by Alan Carruth Originally published in American Lutherie #85, 2006 The New Violin Family, also known as the Violin Octet, began more that fifty years ago with a request by composer Henry Brandt to Carleen Hutchins for instruments with the timbre of the violin in other tuning ranges. It has continued to be a collaborative effort between luthiers, scientists, composers, and musicians. The first convention of the New Violin Family Association was intended to extend that collaboration into new generations. The meeting was smaller than a GAL Convention, and this proved to be a plus. Many participants were already acquainted, and the rest soon got to know each other informally. Convention organizing committee chair and NVFA newsletter editor Robert Spear, along with the other organizers, provided ample opportunities for musicians, builders, and “techies” to get together. A good example was a comparison of Octet instruments with their conventional counterparts, where musicians offered critiques of the new instruments. 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.
