Author: Dale Phillips

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Questions: African Wenge

Questions: African Wenge

by Jeffrey R. Elliott

Originally published in American Lutherie #59, 1999

 

See also,
Questions: Wenge by John Calkin

 

Milan Sabljic of Belgrade, Yugoslavia asks:

I would like to know is it safe to use African wenge to make classic guitar bridges.


Jeff Elliott of Portland, OR responds:

I’ve never tried it, but I don’t see any reason not to. It’s dense, it sounds (taps) well, and it’s beautiful. Also, Gibson used it for steel string guitar bridges in the 1970s. I think it would work very well. ◆

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Questions: Vihuela Plans

Questions: Vihuela Plans

by Robert Lundberg

Originally published in American Lutherie #60, 1999

 

Roy Barger of Dayton, TN asks:

I’d like to build a vihuela. Trouble is, plans are as rare as hen’s teeth. Do you know where I could obtain a set? Or, someone who owns a representative example of one that would sympathize with my plight enough to assist in the measuring thereof?


Bob Lundberg of Portland, Oregon answers:

I do not know of any plan you can order. The one extant vihuela in the Jacquemart André Museum in Paris is not typical of most vihuelas built in the 16th century. Raphael Weisman described it in detail for the Galpin Society Journal, Vol. 35 (March 1982) in an article called “The Paris Vihuela Reconstructed.” No plan was made available. ◆

Editior’s note: You’ll find a comprehensive article on the vihuela by John Rollins in AL#10 or The Big Red Book of American Lutherie Volume One, 1985–1987.

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Letter: Romanillos Seminar

Letter: Romanillos Seminar

by Stephen Frith

Originally published in American Lutherie #68, 2001

 

Dear Tim,

I joined the GAL a couple years ago, and this philosophy of openness, sharing, and frank exchange is right on the ball.

I saw a free ad in American Lutherie: “Master-classes in Spain, make a guitar with José and Liam Romanillos.” A chance of a lifetime? The Romanillos family hosted a fortnight working holiday, which was busy, friendly, happy, and constructive. Set in the Sigüenze hillsides, we were the comfortable guests of the Hermanos Maristas.

In the spirit of openness and sharing, José and Liam helped us consider each piece of wood, as we made our guitars. A quote: “If we know, we tell you.” Based on José‘s first successful instrument in the Spanish tradition of Torres, our work was guided with strategies and beliefs. Secrets don’t exist in good news. On the front bench were all the planning forms and construction templates needed to make a Romanillos and Son guitar, and copying of these was firmly encouraged. The method was straightforward, sensible, and uncomplicated, one that can be easily replicated in my own workshop. I’ve brought home my own Frith/Romanillos. Sounds great!

Speaking as an old London College of Furniture boy, I have to say the Sigüenza 2001 course was brilliant. The cost was reasonable, and returning next year for some fine-tuning would be exciting for a full-time luthier like me. I hope it runs and runs, there is always more to learn. It was great to meet members from all over: Texas, California, Canada, England, Switzerland, Germany, Belgium, Spain, and Japan.

Sigüenza 2002? Go for it! ◆

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Questions: Custom Rosettes

Questions: Custom Rosettes

by Rodney Stedall

Originally published in American Lutherie #70, 2002

 

Rodney Stedall of Pretoria, South Africa answers Milan Sabljic’s question regarding having custom rosettes made in small quantities.

On a recent trip to Germany I came across a small third-generation rosette factory in Kornwestheim near Stuttgardt. Karl Zeeh, the grandfather of Martin Zeeh (whom I met), started the business many years ago. They manufacture customized rosettes and also supply custom bindings and backstrips. The visit was fascinating and the variety of laminated products is extensive, definitely worth investigating. Karl Zeeh, 70806 Kornwestheim, 49-715-47365; fax 49-715-424340. ◆

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Questions: Double Neck Acoustic Guitar Plans

Questions: Double Neck Acoustic Guitar Plans

by Fred Carlson

Originally published in American Lutherie #100, 2009



Henry Canteri from Brazil asks:

Do you have any plans or other information about double neck (6- and 12-string) acoustic guitars?


Fred Carlson from Santa Cruz, California replies:

With any double-necked instrument, there are a few obvious choices to be made in the design stage:

▶ How much space do you need between the necks? This is crucial for the playability of the upper neck. I think most 6-and-12 double-necks have been solidbody electrics; generally speaking, left-hand technique on electrics tends to use less space (around the neck). The necks are smaller, they are often played in a standing position with a strap; the thumb often wraps around the neck. On the other end of the spectrum, if the player uses a classical position (sitting, guitar on left leg), the fretting arm and wrist extend much further out from the treble side of the neck; you’d need more space between necks if you wanted full utilization of the “upper” neck in that position. In order to accomplish that, the necks may need to be angled, rather than being parallel as is often seen on solidbody 6-and-12 double-necks. Steel-string/folk playing position tends to put the fretting hand somewhat closer to the neck, needing less space than classical, but everyone’s different.

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