Posted on January 11, 2010May 29, 2025 by Dale Phillips Letter: Replying to Keith Hill’s Opinion Column Letter: Replying to Keith Hill's Opinion Column by David J. Cohen, Ph.D. Originally published in American Lutherie #64, 2000 Dear Tim: I’m led to wonder at the origin of some of Keith Hill’s ideas in his Opinion column in AL#63. In his first paragraph, he divided practitioners of lutherie and other crafts into those who love the craft — “good guys” — and those who love being involved in the craft — “bad guys.” I think such questioning of motives is divisive. If I was put off by his first paragraph, his third and sixth paragraphs got to me personally. As a lifelong chemist, chemical educator, and avocational aficionado of musical acoustics and lutherie, I did take umbrage at his labeling of acoustical physics as “pseudo-science.” So I want to be careful not to attack him personally. He expressed his opinion well. I think his opinion deserves a response that is considered and not angry. 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 11, 2010May 23, 2025 by Dale Phillips Letter: Electric Violins Letter: Electric Violins by Mike Zimmerman Originally published in American Lutherie #92, 2007 Dear GAL: Back when I was a full-time luthier, I was the chief designer for the Amazing Musical Instrument Co. of Toronto, Canada, from 1987 to 1989. I’ve been out of the business for many years now, although lutherie is a serious hobby. But memories came flooding back when a friend e-mailed me from New York to say he’d seen my name on an electric violin that was on display at — of all places — the Museum of Modern Art! I’d known the museum had acquired an Amazing Violin back in 1991 for their permanent industrial design collection, but to my knowledge it had never been publicly exhibited. Here’s the story: Twenty years ago, the Amazing Violin was patented and promoted as the world’s most ergonomically correct violin. Guitar-style tuners are mounted on the body within easy right-hand reach, and the output jack throws the cable neatly over the player’s left shoulder. There is also a fully adjustable built-in shoulder support. A one-piece chambered mahogany body has a piezoelectric pickup in the chamber under the bridge. This allows the bridge to be adjusted like a standard violin bridge as there are no wires attached. 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 11, 2010May 22, 2025 by Dale Phillips Letter: Michigan Violin Makers Letter: Michigan Violin Makers by Scott Tribby, Treasurer, Michigan Violinmakers Association Originally published in American Lutherie #33, 1993 Dear Sir: The Michigan Violinmakers Association began informally in 1989, and in the spring of 1992 incorporated as a Michigan nonprofit corporation. Our members include those of us in the trade, amateur makers, and those just beginning to learn violinmaking or repair. We meet quarterly to exchange information and ideas on violinmaking and violins, tools, and other areas of interest. At each meeting there is a technical presentation, and the opportunity to view and play new instruments and the occasional important older violin. The quarterly newsletter is published the first of each meeting month.
Posted on January 11, 2010May 28, 2025 by Dale Phillips Review: Advanced Inlay Techniques by Larry Robinson Review: Advanced Inlay Techniques by Larry Robinson Reviewed by John Calkin Originally published in American Lutherie #59, 1999 and Big Red Book of American Lutherie Volume Five, 2008 Video: Advanced Inlay Techniques Larry Robinson Robinson Custom Inlays, 1998 After a book and two videos of inlay instruction you might wonder if anything is left for Larry Robinson to teach. Well, there’s plenty, including some leftover stuff if Larry ever decides to make a fourth video. Robinson’s book gave scant coverage to inlaying signatures, and that’s where the bulk of instruction is placed in Advanced Inlay Techniques. The signatures start as mere pencil lines, and by the time they are reduced to fit on the fingerboard at the 12th fret, they are very thin lines indeed. On work of this delicacy he tries to talk each customer into inlays of gold or silver, rather than shell, and the signatures inlaid in the video are cut from gold sheet stock. The signature in cursive is narrower than the cuts made by the 000 jeweler’s saw blades, less than .010". Cutting such work from shell might well be left to lasers. There is also a trick method of routing for such intricate work that pretty much guarantees accurate results and prevents the tearout of ebony where only dots and bits are to be left. A side excursion is made to examine the use of computers to lay out and alter signatures and lettering, which may be eye-opening for anyone still trying to fight off computer literacy. Robinson maintains that this one program has more than paid for his computer, as well as having brought a measure of ease to his work life. The lettering segment goes on to address block lettering, shaded letters, and the use of various fonts inlaid in a variety of materials. 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 11, 2010May 23, 2025 by Dale Phillips Letter: Passing of Hart Huttig Letter: Passing of Hart Huttig by Tom Peterson Originally published in American Lutherie #35, 1993 and Big Red Book of American Lutherie Volume Three, 2004 Dear Tim and gang, I came into contact with Hart Huttig through Charles Fox when I attended his guitar making school in 1976. I can still see those typed price lists of Allied Traders of Miami with the freighter or the Casa fundada en 1792 crest in the upper right corner. In ’76 or ’77 I went to see him at his daughter’s house south of San Francisco. I sought the advice of a winemaker friend on the best bottle of sherry, and headed off. I soon learned that I needn’t have worried about bribing him or ingratiating myself in order to pick his brain, for his warmth and generosity were immediately evident as we spent a delightful afternoon bantering about everything from Maccaferris to Martins while he kept his family waiting for him to come to dinner. 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.
