There are some minor 'gaps' in explanation but that is exceptable (I am still trying to figure out how to make a fretboard tapering jig). The book is worth reading even if you do not intend to make an archtop, it is simply a joy to see how a craftsman produces these wonderful guitars. My impression
is that no secrets are kept back and that Bob Benedetto has left us a great 'craft' inheritance.

If you intend to make archtops, be prepared to invest in many unusual tools or to make them yourself. Also look on the Web and you will find several people who have recorded their attempts to follow the methods in this book.

If you are interested in archtop guitar making do also read, Acquired of the Angels, the biography of John D'Angelico and James D'Aquisto (author Paul William Schmidt). It contains very little on making guitars but is an interesting historical account.

To me, this represents an important work. It is an artist's attempt to save and record the heritage of crafting finely-made archtop guitars. If you've ever seen a Benedetto guitar, you know the level of craftsmanship that Bob's family has always had in their guitars. Here, in a detailed "how-to," he imparts what no doubt in his mind represents the bread-and-butter of what goes into a Benedetto.

This is the equivalent of a guitarist publishing a video and giving away all his "licks!"

In my experience, the only kind of person who would do what Bob Benedetto does here is someone who truly believes that the secret lies not in the "how to" but in the "how many." Most people will never build as many guitars as Bob Benedetto has built, and those who don't can only come close to his level of expertise. But with this book and Bob's expert and detailed advice, a talented woodworker can get darned close.

6 Stars! Oh... oh well, 5 then!

Enjoy!

I make my living as a woodworker, so I didn't really have any problems with the carving, joinery or finishing parts, but I imagine that a novice woodworker might run into some trouble. Since this was my first guitar, the more lutherie oriented parts gave me a bit more pause. I don't think I would have gotten the quality of result that I did without the outside sources to which I referred. The sections on fretwork and set up are, for example, barely adequate. The basic information is there, but there is a dearth of any hints, and I discovered that fretwork and set up are areas in which one needs hints.

Again, I recommend the book, but with the caveat that you'll want to read more elsewhere.

The bulk of the book deals with the Arab Revolt against Turkey, and Lawrence's role in it. The discussion is solid without being outstanding. Brent does a fine job of outlining the major issues in the conflict, describing the major figures in the conflict, and depicting the difficulties in any happy resolution. He treats Lawrence fairly, not minimizing his role, but not buying uncritically into the Lawrence legend. He neither tries to erect an idol nor destroy an icon. He also deals with Lawrence's life before WW I, and to a much lesser extent, his life after it. I wish the latter part of the book had been a bit fuller. I found the final years of Lawrence's life to be dealt with far too brusquely.

The illustrations make the book. There are photographs of nearly all the key figures, color reproductions of many of the illustrations from the original private edition of THE SEVEN PILLARS OF WISDOM (including a number of cartoonish depictions of Lawrence), and fascinating photographs of Lawrence from all stages of his life. Even if one did not wish to read the text, I could recommend this volume as a great visual companion volume to anyone reading THE SEVEN PILLARS OF WISDOM.