This issue's cover shows a classic guitar soundboard by Jeffrey Elliott. Note the large arches in the transverse braces which allow fan braces to reach up past the waist.
The Modern Mandolin by Lawrence Smart
Lawrence Smart talked at our 1995 Convention about the special challenges of building a matched quartet of mandolin family instruments: two mandolins, a mandola, and a mandocello. This photo shows Smart's method of rough-carving a mandolin plate. Diagrams and tables of dimensions are also presented which compare his instruments with some old Gibsons.
Meet the Maker: Linda Manzer by Cyndy Burton
Linda Manzer is a widely-known maker of flattop and archtop guitars. Cyndy Burton interviews her in this issue.
Shaping the Sound: A Personal Approach to Building Classical Guitars by Jeffrey R. Elliott
Jeff Elliott explains at length his ideas about the effects of bracing and wood selection on classic guitar tone. The photo shows him speaking at the American School of Lutherie.
Martin Tenor Ukulele by Pete Hurney
Pete Hurney presents a plan for a Martin Tenor Ukulele. It's our GAL Instrument Plan #43. You can see an image of it in our plans list. We also present outlines of Martin soprano and concert ukes for comparison, and photos of all three sizes.
The Chainsaw Lutherie of Tom Ribbecke, Part One: The Neck by Jay Hargreaves
Tom Ribbecke let Jay Hargreaves come to his archtop-making class and report it in detail for American Lutherie. In this article, the first of a three-part series, Tom makes the neck. Look for part 2, making a soundboard, in American Lutherie #57.
Meet the Maker: David "Kawika" Hurd by John Calkin
David "Kawika" Hurd was formerly an oceanographer, and now makes ukuleles and guitars in Hawaii. The scientific approach that served him well as an oceanographer is also paying off in his lutherie career. John Calkin interviews him in this issue. That's his grandson Kai in the photo.
Searching for Blue Significance by John Calkin
Scott Chinery had 22 luthiers build 22 archtop guitars, all of them blue. Why? And why did the Smithsonian Institute decide to display them? And then throw in a big shindig for luthiers and guitar nuts alike? Calkin treks to Washington D.C. in the name of the Guild to figure out what all the fuss is about and discovers that hardly anything is what it seems.
Clearly Protective by Kent Everett
Kent Everett shows his method of installing a clear plastic pickguard on a flattop.
This issue is no longer available individually. Its contents are
included in The Big Red Book of American Lutherie, Vol. 5.
