Posted on January 10, 2010February 7, 2024 by Dale Phillips Letter: Veneer Backing Boards Letter: Veneer Backing Boards by Lloyd Zsiros Originally published in American Lutherie #30, 1992 Tim, The wood supplier I deal with for almost all of my materials (A&M Wood Specialty in Cambridge, Ontario — a frequent advertiser in American Lutherie) sometimes gets in quantities of backing boards. These boards are a byproduct of the veneer industry. As most of us know the veneer industry manages to get hold of some of the finest and most desirable logs of various species. These logs are then cut into manageable sizes, if necessary, and clamped into a massive carriage assembly which then moves the log past a stationary knife, neatly slicing off uniform thicknesses of veneer. The carriage assembly used large steel teeth to grab the log and the knife can only cut so close to these. What’s left is a piece of wood usually anywhere from about 1/2" to over 1 1/4" known as a backing board. Many of these are perfectly quartered and quite wide. They can often be purchased directly from the veneer mill or from suppliers like A&M at extremely attractive prices. I have obtained walnut, cherry, and beech this way at a fraction of the usual cost. The boards are often just thrown outdoors usually in the open so they may not be very attractive on the surface but I have obtained some of the nicest walnut I’ve ever seen from these. I’ve noticed some favorable comments in American Lutherie about cherry as an instrument wood. This is a good source for nice wide quartered cherry. Although I’ve never used this on a guitar I do have some 1' long, 20" wide, 1 1/4" thick quartered cherry I obtained a few years ago for $2 a square foot I’ve been saving for something special. It could be worth a try! Oh, and a word on A&M Woods. As they are an advertiser in American Lutherie, you may be interested in knowing I have had nothing but great service from them. They have been my primary source of materials for over 10 years and I can’t say enough good things about Andy and his staff at A&M.
Posted on January 10, 2010February 7, 2024 by Dale Phillips Letter: Lutherie in Russia Letter: Lutherie in Russia by James Flynn Originally published in American Lutherie #25, 1991 Dear Editor: I understand that at the recent convention there was some discussion of the changes in east European countries and the effect it was having on instrument import and export conditions. Perhaps our readers would be interested in the situation as it affects the Soviet Union. As you are aware from AL#17, the Balalaika and Domra Association of America has many contacts with musicians and masters (luthiers) in that country. We had a very successful convention in Washington, D.C. last summer. We hosted seven prominent artists and discussed these matters with our guests as well as with many in our Association who have recently visited the Soviet Union. There is no lack of skilled masters. Before the political changes it was difficult for these masters to establish their own shops on a paying scale and to have the authority to sell direct to musicians through a retailing system. This removed the direct contact between the artist and the instrument maker — a discouraging thing. Several mass-production factories catered to the tourist trade and made instruments such as the balalaika that retailed for about $30. Concert grade instruments could be obtained on a special basis at the Moscow Experimental Factory. Most Russian folk players in western countries have always preferred instruments made by Russian masters because of the prestige so associated with this. Acquisition of instruments in the “old days” was generally done on an individual basis rather than placing an order with a factory for a bunch of instruments. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 10, 2010February 7, 2024 by Dale Phillips In Memoriam: Dennis Stevens In Memoriam: Dennis Stevens 1944 – 2009 by Harry Fleishman Originally published in American Lutherie #99, 2009 My good friend Denny died today. He had engaged a brief battle with ALS, and it didn’t beat him; he walked away from the battlefield on his own terms. He was heroic. Everyone who knew Denny respected him. When there was nothing but Sloane, Denny started building. His work was steady, exceptional, occasionally truly innovative, and always genuine and BS-free. He was a good guy to have as an influence. Denny was supportive and argumentative and couldn’t figure out why I did some of the things I was trying to do, because he was so good at doing it the right way that he didn’t feel a need to reinvent it. He was open-minded and open-hearted and generous, even if he did avoid most people most of the time. He had no problem holding contradictory ideas in his head, and didn’t hold onto old ideas if they were supplanted by better ones. Denny’s guitars were always flawless, which is no mean feat, so it was a surprise when he told me that he had encountered a real serious problem on one of his semihollow electrics. He had been experimenting with vinyl purfling, with which he could put together really sharp contrasts, and the lacquer didn’t stick to it leaving a tiny bubble where it should have been adhered. I don’t know what you’d have done, but I doubt you would have taken a fresh #11 X-acto and cut the offending strip, all forty thousandths of it, and carefully removed it. After cleaning the slot left by that, he superglued the original piece of lacquer back in place, sanded and buffed it, and it was invisible and, of course, perfect. Yeah, I know. Me neither. Photo by Harry Fleishman. Denny grew up outside of Boulder in a modest house to which he continually added, putting in their septic tank with his brother when he was a teenager. He lived there from age nine or ten until he moved to Salem, Oregon with Karen at about age fifty. Along the way he added on rooms and a shop as he grew up and married. I helped him load up the truck to drive out west to Salem, and I didn’t understand his difficulty in moving until he told me his history. You might say he was stable. It was Denny who introduced me to the Guild of American Luthiers, even though we are both non-joiners; it was Denny to whom I turned with questions or to show off. We bounced ideas off each other and came up with a great lutherie tool together, one iteration at a time. His first one is still the best one. Denny never advertised, always had lots of work, was revered in the jazz guitar community, made fabulous steel strings, some good classicals, and a truly hilarious electric, his first guitar, made in 1958. Great guy, Denny.
Posted on January 10, 2010February 7, 2024 by Dale Phillips Letter: Guitar Dimensions and Harmonics Letter: Guitar Dimensions and Harmonics by Joe D. Franklin Originally published in American Lutherie #66, 2001 GAL Members, The resonant chamber or soundbox on a guitar is the greater half of its tonal success. If the air enclosed in this box can resonate naturally at some harmonic of the speed of sound, then you have a winner. This is the only part of the guitar that is capable of maintaining polyphony at a level amplitude or volume throughout any given song. Two designs from the past have met these standards, the 1864 Torres and the 1935 Hauser/Torres, and later the 1943 Hauser that used an inversion on the concept of where the fundamental bass might reside. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 10, 2010February 7, 2024 by Dale Phillips Letter: Don’t Replace Bridge Plate Letter: Don't Replace Bridge Plate by John Higgins Originally published in American Lutherie #41, 1995 Greetings to All- As usual, the last issue of the quarterly was filled with loads of good stuff, with useful information available in all the articles. However, I must take exception to the premise of Bryan Galloup’s reason for replacing the bridgeplate on the 1962 D-28. He states he replaced it because “the balls on the string ends have worn all the way through (the plate) and into the top.” Had the top “bellied up” behind the bridge or sunk toward the soundhole, I would say such a repair would be warranted. Since only the ball ends are involved, I feel the better option is to install a piece of quartersawn maple, cut 0.100" thick by 5/8"×2 3/4", onto the existing plate with some yellow glue. When redrilled and slotted, it seats the ball ends properly, as well as pulling the winding back into the pin hole and off the saddle. The small amount of wood added doesn’t seem to affect the tone adversely, but helps due to the windings being off the saddle. Martin recommends this method when only ball-end wear is a factor, and I’ve found it to be very effective. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
