Posted on January 1, 2010March 11, 2024 by Dale Phillips Constructing the Middle Eastern Oud, Part Two Constructing the Middle Eastern Oud with Peter Kyvelos, Part Two by R.M. Mottola previously published in American Lutherie #95, 2008 See Also, “Constructing the Middle Eastern Oud with Peter Kyvelos, Part One” by R.M. Mottola The Top The top of the oud is “flat” and features ladder bracing and one to three sound holes with fretwork rosettes in them. However, the top is constructed to either passively encourage or actively shape the kind of bellied-in-front-of-the-bridge, humped-up-behind-the-bridge distortion common to all instruments with string anchors at the glued on bridge. More on this in a bit. Peter uses German spruce for his tops and he generally joins and then thickness sands tops well in advance of building, inventorying the joined tops for years before actually using them (Photo 1). Finished top thickness will average around 2MM, depending on the stiffness of the wood, so tops are thickness sanded accordingly at this point. The first steps in preparing the top are to cut it to shape and then mark and cut channels for the sound hole purfling (Photo 2). He uses a custom made fly cutter to cut the channels. His purfling scheme is pretty simple, and he generally uses black and white fiber violin purfling strips for this. The ends of the purfling strips are mitered and dry fitted before being glued. There is no fingerboard extension to hide the butt joint, so this work is a bit finicky (Photo 3). The purfling is glued into the channels and then scraped down once the glue dries. Then the sound holes are cut out. 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 1, 2010March 11, 2024 by Dale Phillips Three Holes are Better than One Three Holes are Better than One by Robert Ruck previously published in American Lutherie #91, 2007 See also, “There’s a Hole in the Bucket” by Cyndy Burton “Sideways” by John Monteleone “Herr Helmholtz’ Tube” by Mike Doolin Classical guitar maker Robert Ruck pioneered sideports for nylon string gutiars. He describes how the idea materialized out of several experiences going back to the begining of his career in the ’60s. A strong advocate, he now offers ports as an option on all of his guitars. Since late 1999, I have regularly used sideports in my guitars. My experience with the resulting 150 or so ported classical and flamenco guitars with various designs is consistent, predictable, and all positive. There is an increase in loudness both for the player and for listeners. In listening tests with several fine players, we have concluded that the guitar is louder for the audience, too. The fundamental tone quality of the guitar stays the same, but it is louder, has stronger trebles, and has a more balanced quality for the player, opening up an area of sound around the player that is not normally heard. Since we as players sit somewhat asymmetrically to the guitar and the conventional soundhole is positioned to our right, there is an area on the left side of our heads that does not receive as much sound as the right side. We grow up hearing the guitar this way, so we never question it. Players comment that it’s as if one is hearing the guitar in stereo for the first time. 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 1, 2010March 11, 2024 by Dale Phillips Sideways Sideways by John Monteleone previously published in American Lutherie #91, 2007 See also, “There’s a Hole in the Bucket” by Cyndy Burton “Herr Helmholtz’ Tube” by Mike Doolin “Three Holes are Better than One” by Robert Ruck Archtop builder John Monteleone is famous for his avant-garde approach to these instruments. He explains how sideports came into his mix. The concept of incorporating the use of alternative soundholes in the side of my guitars came to me at an early age when I had built my first acoustic guitar, back around 1963. I would place my ear on the side of the guitar and wonder how I could make the guitar sound just like that. I figured that the only thing preventing me was the side of the guitar itself. Even then I knew that you couldn’t just cut out a hole into the side of the instrument without inviting structural failure. There had to be some kind of reinforcement to permit it to happen. How could I make this happen on my guitar? Some years went by before I actually got to revisit this idea and to address the best and most precise method of execution. While still in my old workshop in the 1980s I had done several drawings for this system of side soundhole placement but never got to build it. Then in 1995 Scott Chinery put the challenge to me to come up with a way to hear the projection of the guitar in a better and more effective way for my contribution to his Blue Guitar Collection. Scott, unbeknownst to me and the other blue guitar makers, had also challenged a couple of the other luthiers during this time by planting this seed with them as well. It seemed to me the perfect invitation, if not an excuse, to explore this avenue of tonal possibility. Experimentation of design is historically not novel to the idea of trying to make improvements to nearly all musical instruments. A visit to the US Patent and Trademark Office will provide a staggering volume of inventions for fretted instruments alone. Many ideas never made it to fruition. But it is wonderful to see the many recognizable ones that did. 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 1, 2010March 11, 2024 by Dale Phillips Three Craftsmen Three Craftsmen by H.E. Huttig previously published in Guild of American Luthiers Quarterly 10 #3, 1982 See also, “The Guitar & I” by H.E. Huttig “Woes of a Wood Merchant” by H.E. Huttig Just returned from a trip from Miami to Williamsburg, and return with visits to three fine craftsmen. First we visited Allen Chester in Jacksonville. Allen says he was inspired by an early article of mine to start building classic and flamenco guitars. The demand for electrics was much greater, so he changed over and now specializes in them. He is a builder and repairman for quite a few professional groups and is highly esteemed for his work on their instruments. He had tee shirts made up with his logo, and one of the groups wore them when their picture was taken for an album cover. Allen says that he has the luck to be in the right place at the right time. What he doesn’t say is that he has the talent to take advantage of opportunities and the abilities to back up his participation. Allen is multi-talented and experienced in all sorts of mechanical and machine work. He belongs to a sail plane club; not only flied but also builds the sophisticated and super light glider aircraft. He made a rosewood belt buckle with a mother of pearl inlay in the design of a sail plane. It was a gift for a friend, but now he has orders for the belt buckles. He lives in a comfortable house on which he has put additions and restorations. At least half of the building houses his well-stocked workshop. 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 1, 2010March 11, 2024 by Dale Phillips Woes of a Wood Merchant Woes of a Wood Merchant by H.E. Huttig previously published in Guild of American Luthiers Quarterly 10 #4, 1982 See also, “The Guitar & I” by H.E. Huttig “Three Craftsmen” by H.E. Huttig We became interested in instrument building back in the ’60s and were given a couple of junk guitars by Ernest Kaai, a Hawaiian performer and teacher. We gave up our distribution of canned goods and began to import and sell instrument makers materials, impelled by our own need for supplies. We found suppliers on our trips to Germany and Spain. Later we imported from France, Holland, India and Brazil. The wood we get now is of mixed quality; we simply cannot offer a consistently standard product. The guitar builder must demand quality in wood as he is gambling his precious time to produce a saleable instrument. On the other hand, I can only sell him the best that I can get. Many builders have read “how to” book that state that all wood must be cut with vertical grain and that the grain must be straight. This is fine for spruce or cedar intended for sound boards but is not necessary or even desirable, say for Brazilian rosewood (it would hide the figure) or for mahogany necks (there is very little grain — the wood is like a bundle of fibres and there are not well defined growth rings). I have reviewed files that represent some ten thousand transactions and have chosen some of the customer’s complaints. Most are valid and all but one has been refused or exchanged. They are: 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.
