Posted on March 1, 2025March 4, 2025 by Dale Phillips Thoughts on 12-String Guitars Thoughts on 12-String Guitars by Roger Alan Skipper Originally published in American Lutherie #113, 2013 We at the Guild of American Luthiers are quite often asked about 12-string guitars: What should be done to beef up a 6-string guitar plan to make it suitable for a 12-string configuration? What have the major builders done in the past, and how successful were their efforts? What are current builders doing? To find the answers to these questions, we queried several experienced luthiers: Dana Bourgeois of Pantheon Guitars in Lewiston, Maine ◆ Frank Ford of Gryphon Stringed Instruments in Palo Alto, California ◆ Charles Freeborn of Freeborn Guitars in Portland, Oregon ◆ David Freeman of Timeless Instruments in Tugaske, Saskatchewan ◆ Evan Gluck of New York Guitar Repair in Manhattan, New York ◆ John Greven of Greven Guitars in Portland, Oregon ◆ George Gruhn of Gruhn Guitars in Nashville, Tennessee ◆ Arnold M.J. Hennig of Elderly Instruments in Lansing, Michigan ◆ Bruce Petros of Petros Guitars in Kaukauna, Wisconsin ◆ Andy Powers of Taylor Guitars in El Cajon, California ◆ Tim Shaw of Fender Guitars in Scottsdale, Arizona ◆ Marc Silber of Marc Silber Music in Berkeley, California ◆ Robert Steinegger of Steinegger Guitars in Portland, Oregon. Though this article is arranged as though we were having a roundtable discussion, it was assembled from individual responses; differing opinions are simply the results of varying experiences, rather than dissension. 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 May 21, 2020March 6, 2024 by Dale Phillips Copying Pearl Patterns Copying Pearl Patterns by Robert A. Steinegger Originally published as Guild of American Luthiers Data Sheet #125, 1979 and in Lutherie Woods and Steel String Guitars, 1997 Whenever I get my hands on a nice old instrument with distinctive pearl work, I like to get the pearl patterns for my collection. First of all, I photocopy all the parts of the pattern. (Note: the copy machine must be of the type that prints actual-size copies. The instrument must be held carefully and steadily on the machine.) This may have to be done from several angles because of the variations within the pearl itself. Abalone inlays are very difficult to copy in this manner, but a little patience should see the job done. 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.
