Guitarmaker Issue 49

issue 49 cover thumbnail

You must be signed in to view the PDF

OMs & 000s

Cover photo: Martin OM

guitar, 000; guitar, OM

ASIA Workbench

Rick Davis

The new ASIA board and new president are announced along with a brief synopsis of future direction. Symposium 2005 dates are provided and a call is made for issue 50 articles.

symposium; ASIA; event

The OM Style Guitar: What's in a Name, and Does It Matter?

Richard Johnston

The author puts the term "orchestra model" into historical context (it orginally meant 14 frets clear of the body). Discusses the reason for the popularity of the original OM guitars, and the historical developments, important models, and influential players that lead to the current revival of the style. With 7 photos.

guitar, 000; guitar, OM

Owed to the OM

Hank Mauel

The author recounts his history with playing then building the OM-style guitar starting in 1965. He gives some measurements and describes his particular interperetation of the style. With 2 photos.

guitar, 000; guitar, OM

Thoughts on the 000

Marc Beneteau

The author explains why he likes the OM guitar, why it is popular for fingerstyle players. With 4 photos.

guitar, 000; guitar, OM

000, OM, OHHHMMM or Orchestrally Yours: New Ideas in OM Design

Michael Greenfield

One builder's thoughts,reasons, and philosopy for different body shapes and design in concert-sized guitars. Primarily discusses the difference between the author's G1 model and the traditional OM. With 4 photos.

guitar, 000; guitar, OM

Of Art & Science: Lutherie Meets Marine Biology Through Craig Lavin's Inlay

Doug Fields

A marine biologist guitar player meets a like-minded lutheir and commisions a guitar inlaid with a chimaera. Written from the player's perspective, explains why this rarely-known fish is so imortant to him. With 6 photos.

inlay, design, collaboration

The Elasmobranch Guitar

Craig Lavin

A marine bioligist luthier gets a commision from a like-minded player to build a guitar inlaid with a chimaera. Written from the builder's perspective, covers the process of creating this rarely-seen fish. With 3 photos.

inlay, design, collaboration

Custom Guitars

Chip Wilson

A musician turns to building archtop guitars. Later he returns to making music full time and commisions a Rick Davis to create a steel-string flat top for him. With 3 photos.


When My Friend Chip…

Rick Davis

One builder's approach to designing and building a custom guitar; how to communicate, what questions to ask, and where you shouldn't compromise.


Matching Mandolins

Mike Mahar

The author designs his own flat top mandolin and builds two of them with a teenage friend. With 6 photos.


Review: Between the Strings: The Secret Lives of Guitars

Tim Brookes

A loosely-collected assortment of stories by guitarists and guitar makers about the guitar. The reviewer finds three of the stories particularly worth looking at by builders. With 1 photo.


Elegant (But Simple) Fingerboard Jig

Sylvan Wells

A straightforward method for cutting fingerboard tapers. With 3 photos.

tools, jig; tools shop-built

Making a Bridge Plate Chisel

Frank Ford

A hook-shaped chisel made from an old file. With 16 photos.

tools, shop-built

Making Fret-Pulling Pliers

Frank Ford

Quickly (no more than 15 minutes) and easily convert conventional end cutters into flush cutters for pulling frets or triming fret ends. With 11 photos.

tools, shop-built

Marquetry: A Diferent Route to Surface Embellishment

James MacDonald

Defines inlay, marquetry, and parquetry, then illustrates the bevel-cutting technique for marquetry. The author usually applies his creations to furniture, but after a couple commisions from the Gibson Custom Shop, he wants to continue to do guitars. With 9 photos.


“ASIA is an organization where you not only grow your skills, but grow your extended family. I have met so many wonderful, knowledgeable people through this organization.” ~Michael Dickinson, Martin Guitar