American Lutherie #117
Spring Issue 2014
Web Extras

Page 6 - How I Build Forty-Eight Guitars A Year With Almost No Tooling Part One from his 2011 GAL Convention workshop by John Greven
 
Page 16 - Meet the Maker: Antonio Marín by Federico Sheppard
Don Antonio inside his shop Inside view of Don Antonio's shop A couple photos showing the inside of Antonio Marin's shop Jose Marin Plauelo in the s hop Bandsaw in the shop of Antonio Marin
another view inside Antonio Marin's shop A couple guitar with their neck roughly cut Lisa Hurlong outside Antonio Marin's shop A view of Sierra Nevada from Antonio Marin's shop door Left to right: Carmen Gonzalez Zapata, Federico Sheppard and Don Antonio
    Guitarist, equestrian, and Granada resident Lisa Hurlong outside the Marin shop. A view of Sierra Nevada from the Marin shop door. Don Antonio judges humidity by watching the cloud formations. **Update, 2014** Don Antonio (right) displays American Lutherie #117 during a visit from author Federico Sheppard and Carmen Gonzalez Zapata. Not sure what’s the deal with the cat.
Page 40 - Meet the Maker: Robbie O'Brien by Brian Yarosh
Robbie O'Brien as a young boy Old photo of Robbie O'Brien harvesting a tree Robbie O'Brien building a post and beam cabin Robbie O'Brien bending some guitar sides Robbie O'Brien buffing the back of a guitar
Robbie O'Brien shows a guitar mold with the neck, sides and back braces in place Robbie O'Brien s hows a guitar with the top bound on Robbie O'Brien cutting some wood on a bandsaw    

Robbie O'Brien going over some details with a student at the Red Rocks Community College A bunch of guitars made at the Red Rocks Community College Robbie O'Brien teaching a class at the Red Rocks Community College Robbie O'Brien teaching a class at the Red Rocks Community College Robbie O'Brien teaching a class at the Red Rocks Community College
Group photo at the Red Rocks Community College        
Teaching at Red Rocks Community College
Page 52 - Elliptical Legacy by James Condino and John Monteleone
A view of the binding along the neck, body, soundhole, and pickguard of a mandolin A better view of the binding on the mandolin pickguard View of the binding of the mandolin soundhole Oval mandolin soundhole cutter Closeup view of oval mandolin soundhole cutter
Side view of oval mandolin soundhole cutter View of bottom of oval soundhole cutter      

Top of Page