This issue's cover shows the guts of a Dreadnautilus, Fred Carlson's headless redwood and walnut travel guitar. It gets a lot stranger than that!
In Memoriam: Richard Schneider
A well-known teacher and maker of controversial classical guitars passes on.
Meet the Maker: Rene Baarslag by Woodley White
A Dutchman who moved to Spain and learned guitarmaking with the help of Antonio Marin, Baarslag has carved out a reputation as a fine luthier. The descriptions of his home will make you wonder why luthiers can't live this well in America. Baarslag's life must be very pleasant.
Passport to Spain by Woodley White
Baarslag journeys to the American School of Lutherie to teach a week-long class about building classical guitars. White attended, and gives a full report.
Stage Acoustic Guitars by John Calkin
How to make thin-body guitars intended to be plugged in on stage. The bodies are hollowed from solid stock. Design considerations are emphasized. Production jigs are described, as are a set of jigs for making bridges.
Meet the Maker: Fred Carlson by Tim Olsen
Carlson grew up on a New England commune and never outgrew the philosophy of sharing. He would rather let his uniqueness bloom than give in to commercial considerations. You'll be glad you met him here.
Soundboard Doming by Brent Benfield
So you bought a spherically dished form in which to build your guitars. But how do you go about it? Benfield describes a path notable for its lack of complication. This is a painless way to bring your guitars into the 21st century. Most of the ideas are applicable to flattop guitars as well.
Time is the Enemy by Richard Beck
Beck's theme is to keep the quality but cut the time involved in building acoustic guitars. He shares his jigs for shaping headstocks and arching braces using a router table and heavy aluminum jigs. You may have to get a machine shop in on this job.
Wood Identification for Luthiers by Nicholas Von Robison
Robison describes wood identification as an adventure. You'll need some reference books and a microscope, and a computer wouldn't hurt. Ever see an instrument trimmed in smokewood? How do you know, Sherlock? Without a little scientific trickery your guess could be wrong either way. Get with the program.
Resetting a Neck with Jeff Traugot by Colin Kaminski
Neck resetting techniques have changed enormously in the last few years, and they continue to evolve. Traugot has been in the forefront of the evolution. Here's his up-to-the-minute description of the procedure.
Product Reviews by Harry Fleishman
Fleishman examines two retrofit bases for the Dremel mini-router, and likes them both for different reasons. He also test drives a set of micro-chisels and JAWS, a hand-powered fretting press, and recommends them.
Questions edited by Cyndy Burton
Only one answer in this column, a chart for converting wire gauge numbers into inches.
It Worked For Me
Readers offer advice on Rubbermaid toolboxes; a company that sharpens files; making a drill press routing tool out of a pencil sharpener; and good-smelling AURO varnishes and shellacs for instrument finishing.
Violin Q&A by Michael Darnton
The style and size of violins, like most everything else in noncommunist countries, is driven by the market place. Darnton responds to a query about which fiddle makers are best to copy, and how to arch the plates to please contemporary musicians.
A Bow Making Course Reviewed by Colin Kaminski
The reviewer attended the course taught by Joseph Regh in Wappingers Falls, N.Y. The course lasted two weeks. Kaminski is extremely enthusiastic about his experience. Classes are small and Regh's teaching is high quality, making the event very personal.
This issue is no longer available individually. Its contents are
included in The Big Red Book of American Lutherie, Vol. 5.
