American Lutherie #112 cover shows a steel string guitar body being buildt on a workbaord at the Ecole-atelier Lutherie-Guitare Bruand in Montreal Canada.

American Lutherie #112
Winter Issue 2012
Web Extras

American Lutherie #112 is available as a back issue, click here.
Page 6 - Ultralight Cello and Other Heresies by James Ham
Marshall Brune, Man of Mystery. Marshall Brune plays the first fiddle. Marshall Brune plays Doug Martin’s balsa fiddle.    
Marshall Brune, Man of Mystery. Marshall plays the first fiddle. Marshall plays Doug Martin’s balsa fiddle.    

Audio clip (626KB):
Marshall Brune plays a standard violin, then the balsa violin in the blind demonstration.
Miriam Chong demonstrates the bass.
        
Miriam Chong demonstrates the bass.  


Audio clip (1.65MB):
Miriam Chong demonstrates the ultralight cello. She plays the open strings, then a selection by Saint-Saëns, then “Something Faster.”

Audio clip (1.81MB):
Miriam Chong demonstrates the Jim Ham bass. She plays the open strings, then “standard repertoire,” then a pizzicato piece by Tony Osborne, and finally a selection that moves “across the registers.”
2011 convention goers taking phtos of Doug Martin's balsa violin James Ham's upright bass at the 2011 Guild of American Luthers Convention      
Page 20 - Meet the Makers: Bruand School Class of 2011 by R.M. Mottola
Guitars in the display room at the Lutherie Bordeaux shop. Views of the guitar workboard. Views of the guitar workboard. Views of the guitar workboard. Neck jig.
Guitars in the display room at the Lutherie Bordeaux shop. [Photo credit: R.M. Mottola] Views of the workboard. Neck jig.
Page 40 - Meet the Maker: Alan Carruth by Tom Harper
Braid pattern rosette by Alan Carruth Maple leaf pattern used as purfling by Alan Carruth Smaller braid patter rosette for a classical guitar by Alan Carruth  
Al says:
“Sometime around ’94 or so I worked out a way to make a braid pattern rosette of side-grain elements, using plane jigs. Here’s the first one I made that had a shell background.”		 “A few years later I used the same technique to make little maple leaves to set as purfling on my ‘Autumn’ guitar. Here is a shot of the rosette and side.” “The original braid is large for a classical guitar, so I made up a smaller one, and then a few more jigs to make a ‘return’ that would convert it to a true interlacement. This one also has some end grain stick work elements: a vine bud and rose pattern. All the woods are natural colors.”  
Page 48 - Mackintosh Inspired Inlay by Kathy Wingert
Close view of back of harp guitar by Kathy Wingert Full back view of harp guitar by Kathy Wingert Close up view of soundhole on a harp guitar by Kathy Wingert
Page 54 - American Mandobass History 101 by Paul Ruppa
A mandobass Another mandobass Various views of a Meyers mandobass

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