Posted on June 15, 2026June 15, 2026 by Dale Phillips Essential Tools: Scratches and a Detail Knife Essential Tools: Scratches and a Detail Knife by Eugene Clark with Jonathon Peterson Originally published in American Lutherie #80, 2004 and Big Red Book of American lutherie Volume Seven, 2015 What are scratch tools, Eugene? Scratches are something like one-tooth saws. The square one is like a rip tooth, a paring tool like a small chisel that takes a shaving out; and the pointed one is a parting tool that separates. So, you have a pointed scratch and a chisel-shaped scratch. The latter are really just violin purfling tools. These were hand forged from nails. On some of these German scratches you can pull the blade out of the handle and you will see the unaltered point of a nail — good Swedish nails, probably. Nails made from Swedish steel were very much in demand for tools like this. 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 May 1, 2026May 1, 2026 by Dale Phillips Remembering Manuel Remembering Manuel by Eugene Clark, Armin Kelly, Robert Ruck, Jeffrey Elliott, Cyndy Burton, and Paul Szmanda Originally published in American Lutherie #119, 2014 Manuel Velázquez was making fine guitars in the 1940s, before I knew what a guitar was. I had always assumed his presence, that he would always be with us, like the New York Yankees, like the Statue of Liberty. But now he is gone. Manuel visited Tacoma with his son Alfredo in 2006. Alfredo thanked me for recognizing his father in some of my published articles. I explained that Manuel meant a lot to me — not so much for the guitars he made, but for the man he was. I have said to many people over the years that the most important thing in making guitars is the name that is on the label. It is because of Manuel that I have come to that position. Manuel’s guitars do not sound like the work he has copied ever so carefully. They sound like Manuel — warm and loving, very clear, very Latin. His student-grade guitars, better than many first-class guitars, are very popular in New York City. 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 23, 2025June 20, 2025 by Dale Phillips What is the Flamenco Guitar? What is the Flamenco Guitar? by Richard Bruné, Eugene Clark, and John Park, with moderator and organizer Jeffrey Elliott from their 2006 GAL Convention panel discussion Originally published in American Lutherie #97, 2009 Jeffrey Elliott: Our panelists are all esteemed flamenco guitar makers and accomplished flamenco players. I’ll begin by asking each of them to answer a single big question: What is the flamenco guitar? Richard Bruné: Here’s a little quiz. These pictures (below) show three guitars by Domingo Esteso, illuminated from the inside so we can see the bracing pattern. Would anybody venture a guess, according to conventional wisdom, which is the flamenco guitar? The one on the left is a 1932 with rosewood sides and back. In the middle is a 1936; it’s part of my collection. And the one on the right (also far right) is the flamenco guitar, La Maravilla, which was made for Ramón Montoya. It actually has very high action, almost like a classical guitar. 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 June 6, 2024May 14, 2025 by Dale Phillips It Worked for Me: Veneer Scraper It Worked for Me: Veneer Scraper by Eugene Clark Originally published in American Lutherie #73, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 In the first episode of my two-part article on Spanish rosette construction (American Lutherie #71, Big Red Book of American Lutherie Volume Six), I described how important the sizing of the veneers is to the whole process, and showed the veneer scraper that I currently use. It uses a Stanley #90 bull-nosed shoulder plane. My first veneer scraper was a plane blade with a simple wooden holder, which, as I mentioned, is the type of tool that one might find in a Spanish shop. Jon Peterson had some questions about that tool, so I made one to show him. The anvil block, opposite the cutting edge of the blade, needs to be hard and stable. I used a scrap of seasoned maple with the end grain (which is harder than long grain) towards the blade. The base and the blade holder are scrap softwood, but any solid, stable wood could be used. The anvil block is screwed to the base and can be removed when it needs to be resurfaced. The larger of the two blocks that hold the blade is glued and screwed to the base. The narrower block is then clamped in position with the blade in place, pilot holes are drilled and screws are installed. The fit of the blade will now be too tight, but by backing out those screws a little, the blade will slide freely, yet very little tightening of the wing nuts will hold the blade firmly. The width of the gap between the blade and the anvil block is adjusted by tapping with a hammer on the end of the tool or on the exposed end of the blade. 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.
