Posted on September 3, 2026September 10, 2026 by Dale Phillips Meet the Maker: Frank Ford Meet the Maker: Frank Ford by Jonathon Peterson Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 See also, Rebuilding a Rebuilt Headstock by Frank Ford Hi, Frank. I have been wanting to do this for a long time. Just about everyone who is involved with guitar repair already knows something about you, either from magazine articles, appearances at conventions and schools, or from your web page, so I will dispense with the intro. Let’s start with where you grew up and how you first became interested in fretted instruments. I was born and raised in the Bay Area. When I arrived at U.C. Santa Barbara to start college in ’62, I had not played any music at all. I got into listening to folk music and then bluegrass as part of that first rebirth of bluegrass that went through the college community in the early ’60s. My college roommate decided he was going to play banjo. Everybody laughed at him, but a year later he was a competent Scruggs-style banjo player. Some of my friends said, “Gee, you listen to so much music, you ought to play, too.” I was rather taken by The Country Gentlemen at the time, and Bill Monroe, and a few others, so I bought a mandolin and started to play. 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 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 21, 2026May 22, 2026 by Dale Phillips The Megas Touch: Violin Style Purflings on Archtop Guitars The Megas Touch: Violin Style Purflings on Archtop Guitars by Jonathon Peterson Originally published in American Lutherie #104, 2010 When I was in Ted Megas’ shop a few months ago,one of the things that interested me was the way that he does his purflings and bindings. His routing setup is unique to what I have seen, as is his use of violin-style purflings on his archtop guitars. Ted agreed to let me know when he would be installing some purfling so that I could watch him work. Let’s start with a brief overview of the process. It all starts with the design and the materials you want to use. As I mentioned in our interview (AL#101) I have several bandsaws. One is a 14˝ Delta from the ’30s that is set up with a really fine 24 tpi blade just for cutting binding. For plastic bindings I buy sheets and cut my own strips. For hardwood bindings I cut my own veneers and rip them into stock for purflings and bindings. 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 12, 2026May 13, 2026 by Dale Phillips Meet the Maker: Rick Turner Meet the Maker: Rick Turner by Jonathon Peterson Originally published in American Lutherie #64, 2000 and Big Red Book of American Lutherie Volume Six, 2013 One of the great pleasures of my job here at the Guild is that I get to meet and talk with luthiers I’ve admired from afar. As the 1999 Healdsburg Guitar Festival was winding down, I approached Rick Turner and asked if he would be willing to be interviewed for this journal. Rick’s name will be familiar from his work with the Alembic company and the Grateful Dead; from his writing in American Lutherie, Guitar Player, and other magazines; and from his attendance at various instrument shows and conventions, including our own. I first heard him speak at the 1980 GAL Convention in San Francisco and have been a great admirer ever since. Rick graciously agreed, and we sat on the veranda outside the display hall and talked while the last tables were being folded and put away. We were the very last ones to leave. Rick spoke about the winding path of his career, the rock-and-roll world of the ’60s and ’70s, his approach to pickup and instrument design, and his current work, which includes a totally cool acoustic steel string and his Renaissance series of “amplicoustic” guitars. It was so much fun! 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 11, 2026May 11, 2026 by Dale Phillips Meet the Maker: Ted Megas Meet the Maker: Ted Megas by Jonathon Peterson Originally published in American Lutherie #101, 2010 Tell me about your life. Start from the beginning. I was born in Bethlehem, Pennsylvania. I lived there until I was five, when my father got transferred to Buffalo, New York. He was a metallurgist at Bethlehem Steel. When you were growing up, Bethlehem was a working industrial town. It had Lehigh University, where my father graduated. That is a prestigious engineering college, and then they had the steel mill, so it was pretty industrial, but now that the steel mill is gone it is actually a really scenic place. Because it’s Bethlehem they have a Christmas festival with lots of music, and there are other things going on. I guess I was an independent kind of kid. I remember playing, and I remember getting stung by bees. I remember the house we lived in, which my father built. I have gone back to visit it, but I don’t remember too much from those years. 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.
