Author Archive

Feb
11

We’ve seen Florian Blochinger grow more and more as a guitar player and luthier over the years. Here’s a little taste of the music he’s played in our showroom as well as some of the guitars he’s built for us so that you too can see Florian through the years.

Francisco Tárrega ‘Capricho arabe’                                     Francisco Tárrega ‘Lagrima’
Torroba ‘Romance de los pinos’                                         Francisco Tárrega ‘Adelita’
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Oct
23

There’s a “spirit of openness and environmental awareness” throughout this 12th issue, to quote the editor of Orfeo, Alberto Martinez. That spirit is clear as the issue covers the process of environmentally-conscious guitar-making in Belgium, from research to physical workings of the most renowned luthiers in the country. Much of what this issue covers is not really information the public knows well, but many guitar aficionados do discuss from time to time, so we’re excited to bring to you all this particular publication. The Belgium Special features information on many innovative organizations and builders that work to make sustainable guitars, including the luthiery school of Puurs, Leonardo Guitar Research Project, Acoustics Laboratory, Le Mans University, Crelicam Project, luthier Walter Verreydt, Karel Dedain and Mark Peirelinck.

Click here to get to the full Orfeo No. 12 publication on Belgium Special.

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Oct
23

The Arts Review publication is brought to us all by the Wilmette Arts Guild, and its aim is to “…inform, stimulate and inspire” as it does with all of its content. So, when GSI’s own President David Collett was asked to write a piece about the master-luthier and father of the modern classical guitar Antonio de Torres for Arts Review, he couldn’t resist to put his vast knowledge on the subject to work.

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Jul
16

Since 1971, Habilitat has been giving individuals suffering from substance abuse and homelessness a second chance at life. Located on the Hawaiian Island of Oahu, this non-profit organization has one of the highest rehabilitation success rates in the United States due largely to its approach of teaching the core values of integrity, accountability, education, responsibility, and work ethic.

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Jun
29

The GSI Six String Summer Sale starts now through the end of August!

Here’s your chance to get the dream guitar you’ve always wanted with 0% APR financing from our friends at Affirm. And, make sure to check out our Specials page for extra, huge savings along with the Affirm special offer!

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May
22

GSI President David Collett with Gabriele Lodi, both holding guitars built by Torres in 1888 – SE 113 and SE 122.

Gabriele Lodi on his recent “Torres Interpretation” built for GSI:

After many years of research on historical Spanish guitars, and thanks to my recent appointment as curator of the “Torres Anniversary Exposition” in the Cremona Museum, I have tried to use all my knowledge to create my tribute to the Spanish traditional system of construction that first came into manifestation with the work of Antonio de Torres. “My Torres Interpretation” is simply my way to respect as much as possible the great Spanish master and at same time make a guitar that satisfies the needs of the modern player.

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May
22

California luthier David Schramm (also a player) has owned several Greg Smallman guitars over the years. His lattice guitars are therefore very close to the Smallman design, and David has built around 100 of them. David sent us some info and specs on this model that players of this type of instrument might find of interest. First, the neck mechanism is exactly the same as Smallman, which means that the neck is held on to the body by the string tension and would fall off if the strings were removed. To ensure that this doesn’t actually happen, there is a retention bolt (see below) that prevents this that is accessed under the fingerboard through the soundhole. David has done tests to see if a two-piece neck and body vs. a solid joint have any effect on the sound quality. He has found that when done properly there is no difference at all.

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Apr
16

Here are a few photos and a beautiful performance video of Ariel Ameijenda’s new guitar which he recently finished building for us. With a shimmering Uruguayan Blackwood back and sides and a warm cedar top, this guitar is a treat for the eyes and – as the performance below demonstrates – just as so for the ears. The video features Uruguayan guitarist Horacio Reyes Páez performing Prelude No. 1 by Heitor Villa-Lobos and Canción del Abuelo by Atahualpa Yupanqui. We’re looking forward to getting another one of his instruments into the showroom and playing it for ourselves!

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Apr
03

Orfeo Magazine just released their 11th issue, and it’s an English Special. Within the 74 pages, the issue starts by giving a brief history of the guitar in England and how it originated from a cittern-like instrument with courses of strings, then we get into classical guitar builders who make their instruments in England, including Paul Fischer, the successor of the famous master David Rubio, and Christopher Dean, who likes to build traditional Spanish-influence instruments in the Torres and Santos styles. Orfeo then gives a profile of Kevin Aram, who like Dean, builds traditionally in the Spanish and Hauser styles, yet interestingly builds electric and acoustic guitars in the cigar-box fashion for fun – What a hobby! Gary Southwell’s story is intriguing because he builds historical replicas in the style of Lacote, Stauffer and Pagés as well as modern and contemporary guitars with a scientific approach. We get to Michael Gee who is known for his double-top guitars, and close off with tuning machine maker David Rogers, whose extravagant works are known as some of the best tuning machines ever.

Click here to read the full Orfeo #11 issue and learn more about the guitar scene in England.

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Feb
28

John and his sister, Ann.

In Memoriam: John Weissenrieder (1964-2017)
by Andrea Tacchi

My friend John Weissenrieder and I had the pleasure of knowing each other, as well as time spent working together and later, harvesting the work of those years. And now – unexpectedly and with great sadness – the time has come for me to share some of my memories of John and the work we did together on guitars.

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