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A Guitar Maker's Manual, by Jim Williams
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(Reference). Written by one of Australia's foremost luthiers, this manual is a straightforward, profusely illustrated guide to constructing nylon-string classical and steel-string guitars. Includes a useful section on creating the jigs necessary to make the job easier and more accurate, along with full size template diagrams to assist in cutting out and marking the body shape and soundboard bracing patterns. A Guitar Maker's Manual lists all of the materials needed, where to get them and what problems to look out for during the construction.
- Sales Rank: #770984 in Books
- Brand: Hal Leonard
- Model: 1753680
- Published on: 1987-04-01
- Released on: 1987-04-01
- Format: Unabridged
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x .28" w x 9.00" l, 1.00 pounds
- Binding: Plastic Comb
- 112 pages
- Used Book in Good Condition
About the Author
Steve Rosenbaum is a consultant who has worked with America's leading companies including Disney, Dupont, Ceridian, GE Capital CarlsonWagonlit Travel, and Allina Health Systems to help them design, develop, and implement creative training solutions.
Jim Williams is a training and development leader with more than twenty years experience creating and implementing training solutions to support organizational change and growth initiatives first at IBM and then at General Electric.
They can be reached at www.LearningPathConsultants.com.
Most helpful customer reviews
5 of 5 people found the following review helpful.
Got it for the Florentine Cutaway
By J. Elliott
This is one of the best illustrated Guitar building books. I have most of them on the market from the the early Irving Sloan ones and A.E. Overholzer (now an out of print classic)books. I purchased this for the section on fitting a Florentine Cutaway. I had a good laugh as the Florentine Cutaway section references other building steps in other parts of the book for example step "S. Refer to step AF from the Assemble chapter." It is very stepwise and logically arranged. Unlike many other guitar building books that feel like they jump around or give too much information in a chapter.
For example his book has the fitting rosette steps before build the bracing. Often times this process has it own chapter but the new builder (like me was never sure) because it is never states when this needs to occur stepwise in the process of building your guitar. Other books often have this over engineered and make it sound too complicated. For those of us who are ADHD and tend to jump around like me. This book is very logically and I recommend it as an excellent check list book to go with William R. Cumpiano & Jon D. Natelson's book Guitar making Tradition and technology book.
After getting this book, I felt able and confident to start building my first acoustic guitar, after having had the materials, supplies and plans since the mid 1990's.
10 of 10 people found the following review helpful.
a side dish, not a meal
By Alexanderplatz
Liking books in general, I did not hesitate to purchase just about all of the guitarmaking books that I could get my hands on when attempting to build my first guitar. Jim Williams' book is certainly inexpensive, and has the added bonus of ring-binding that allows you to open it flat in your work area. It is not a comprehensive volume and if you could only have one or two books on lutherie, this one probably would not make the cut. That said, I actually found it quite useful at times when building my first guitar, a kit project purchased from a well-known American guitar company, in that Williams' overall method of assembly lent itself well to the assembly of the kit.
Another reviewer has pointed out correctly that in general the lutherie literature is behind the times compared to the internet, where much information on guitarmaking is freely shared. I think a modern book on modern guitarmaking would ideally come with a CD-ROM chock full of detailed, color photographs. While it would be cost-prohibitive to publish a book with so many color photographs, the cost of digital photography on a CD-ROM is minimal.
In conclusion, I would recommend this book as a adjunct to other, more comprehensive books on guitarmaking, especially to beginners working with a kit project that comes with somewhat scanty instructions. The writing of an up-to-date book on flat top guitar construction awaits, perhaps for the collaborative efforts of professional and amateur lutheriers everywhere. It would certainly be a gratifying project.
25 of 26 people found the following review helpful.
WOULD be great, if edited properly!
By Adam Weber
I must have owned Irving Sloane's "Classic Guitar Construction" since about 1970. It was probably the only thing around, in English, back then. Although it has a few quirks, it is still a great read and reveals a no-nonsense approach.
Williams' book tries hard to emulate Sloane's, but fails in the most important department--TRUST!
There are simply heaps of little errors, some of them common to many modern woodworking and lutherie books, as well as a few individual howlers that just make an old-timer suspicious.
Anthony Burgess once remarked [on spelling]: "A guage works as well as a gauge". We know what he means, and we know what Mr Williams means, when he mis-spells this basic item. However, he also goes on to mis-spell, mis-use and mis-name another dozen or more common woodworking tools and concepts that make one wonder if he really knows what he's talking about. [It confuses those of us who DO.] Tri-square, sash cramp, swooge, guages, annular rings[!], jointing vs joining...I believe it's just as easy to get these little things *correct* before publication. If not, at least before the reprint(s)!
There are still, after 3 or more editions, plenty of unclosed quotes--No, on second reading, those are actually *inch symbols* with no figures before them...There are suggestions that 1"= 12.5mm...on a drawing, 3/16" is called 5mm, but 3/32" [exactly half!] is called 2.2mm. What's going on??? I grew up with both systems, but I can't really trust my cuts to these kinds of little blunders.
Way too often the text refers to classic construction, but the illustration shows a steel-string dreadnought...There's actually no problem, but it makes me wonder why there isn't just a bit more text to explain the discrepancy. A clever symbol next to paragraphs to distinguish the classic from the steel-string acoustic parts would also assist the reader greatly.
Most of the photos and illustrations are clear, but some just defy interpretation until the text has been read 10 or more times.
If I were Mr Williams' editor, before any reprints, I would insist on a simple, but apologetic foreword, and review and extend the text to make this "almost-good-enough" book into a great book. If you know a bit about making guitars, however, you'll find some really thought-provoking ideas here. Beginners beware!
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