American Lutherie #115
Fall Issue 2013
Web Extras
Page 24 - Meet the Maker: Martin de Witte by Federico Sheppard
 
Page 30 - 1930 Santos Hernández by Jeffrey R. Elliott
Note earlier support strip over back crack on this 1930 Santos Hernandez guitar Note that, curiously, Santos made only two kerf cuts in the solid top lining on each side of the end block of this 1930 Santos Hernandez guitar. Note 1MM thick support cleats over back crack of this 1930 Santos Hernandez guitar. Note earlier support cleats over old back crack, and the newer ones, where the crack extended. Note the short, slight taper on the back braces, the side support, and short tentellones on the ends of the back braces. There’s a cleat over a back crack near the end of the far brace.
Note earlier support strip over back crack. Note that, curiously, Santos made only two kerf cuts in the solid top lining on each side of the end block. Note 1MM thick support cleats over back crack. Note earlier support cleats over old back crack, and the newer ones, where the crack extended.
 Note the short, slight taper on the back braces, the side support, and short tentellones on the ends of the back braces. There’s a cleat over a back crack near the end of the far brace.
Note the two separate, additional narrow bands of head veneer just above the nut slot. Santos’ beautiful trademark rosette, with its wave pattern central mosaic. 1930 Santos Hernandez after repair. Top is European spruce; back, sides, bridge, and head veneer is Brazilian Rosewood; neck is Spanish cedar; fingerboard is ebony. 1930 Santos Hernandez after repair. Top is European spruce; back, sides, bridge, and head veneer is Brazilian Rosewood; neck is Spanish cedar; fingerboard is ebony.  
Note the two separate, additional narrow bands of head veneer just above the nut slot. Santos’ beautiful trademark rosette, with its wave pattern central mosaic. 1930 Santos Hernandez after repair. Top is European spruce; back, sides, bridge, and head veneer is Brazilian Rosewood; neck is Spanish cedar; fingerboard is ebony.  

Additionlal detail shots:
Side view of the bridge on a 1930 Santos Hernandez guitar End view of the bridge on a 1930 Santos Hernandez guitar View from the soundhole of the bridge on a 1930 Santos Hernandez guitar View of the peghead of a 1930 Santos Hernandez guitar Using a mirror to see the bracing and kerfing on a 1930 Santos Hernandez guitar
UUsing a mirror to see the bracing and kerfing on the upper bout on a 1930 Santos Hernandez guitar Using a mirror to see the fan bracing on the soundboard of a 1930 Santos Hernandez guitar Inside view of the back bracing on a 1930 Santos Hernandez guitar Another view of the back bracing on a 1930 Santos Hernandez guitar Using a mirror to view the other side of the upper bout on a 1930 Santos Hernandez guitar
Using a mirror to view the other side of the fan bracing on a 1930 Santos Hernandez guitar    
Page 38 - Meet the Maker: Roger Alan Skipper by John Calkin
Hiking in Bolivian Andes with wife and granddaughter. Jammin’ at Deer Camp. Taking a break from hunting ginseng to admire a poplar tree. Planing the edge flat
Hiking in Bolivian Andes with wife and granddaughter. Jammin’ at Deer Camp. Taking a break from hunting ginseng to admire a poplar tree.    
Some great inlay work on a mandolin Fancy binding on this guitar by Roger Alan Skipper Barbed wire inlay on the headstock of a guitar by Roger Alan Skipper Barbed wire inlay on the fretboard guitar Inlay on a mountain dulcimer
Fancy carving on the neck and heel of a banjo by Roger Alan Skipper        
Page 71 - In Memoriam: Gene Stephensonby John Calkin
Here’s a photo of Gene at the 2001 GAL Convention, rockin’ a cool flat-top. Here’s a photo of Gene at the 2001 GAL Convention, rockin’ a cool flat-top.

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