Posted on July 1, 2024July 9, 2024 by Dale Phillips 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. 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 July 1, 2024July 9, 2024 by Dale Phillips Questions: Single Fretting Fixture Questions: Single Fretting Fixture by Tim Shaw Originally published in American Lutherie #101, 2010 Mark French from West Lafayette, Indiana asks: Do people ever make a single fretting fixture and just pick off whatever section they need for a specific type of instrument? I started with a 25.5" scale length and added some frets to bump it up to about 34.07". It looks like I can use this set of positions to find fret spacing for everything from a bass to a mandolin. Tim Shaw from Fender in Nashville, Tennessee responds: You could also use this for both medium-scale bass, which is usually 32", and short-scale bass, which is typically 30" or so. Since Leo Fender had the 25.5" scale first, I don’t know if he actually “added” frets to come up with 34", but that was certainly possible on the prototype. The shorter Fender scales were also probably started by lopping frets off a standard neck. 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 July 1, 2024July 9, 2024 by Dale Phillips Questions: Online Lutherie Info Questions: Online Lutherie Info by R.M. Mottola Originally published in American Lutherie #68, 2001 See also, Questions: Online Lutherie Chat by Cyndy Burton R.M. Mottola of Newtonville, MA responds to the question in AL#67 regarding where to have your lutherie questions answered online: I’m sure you’ll get lots of responses that give specific URLs, but here is some background and a way to find most places where you can ask your questions. The internet is generally considered to have three basic facilities — e-mail, websites, and Usenet newsgroups. There are discussion groups on the topic of instrument making that use each of these facilities. To find those implemented as websites you can use any internet search engine to search for appropriate terms. Typing “guitar discussion” into a search engine will get you a lot of hits. Finding discussion groups implemented as e-mail mailing lists could be tricky, as there are no comprehensive search facilities for such mailing lists. Fortunately most if not all e-mail-based discussion groups have a website too, so the search specified above will find those as well. Although most folks are not familiar with Usenet, it contains probably the single largest collection of topic-specific discussion groups. Rec.music.makers.builders is the grand daddy of all instrument building discussion groups, and is a Usenet newsgroup. You can access newsgroups using special facilities included in any web browser. Or you can go to one of the Usenet specific search engines such as Deja News (http://dejanews.com) and follow instructions there for posting to and reading selected newsgroups. ◆
Posted on July 1, 2024July 9, 2024 by Dale Phillips Letter: Defending Larry Sandberg’s Book Letter: Defending Larry Sandberg’s Book by Harry Fleishman Originally published in American Lutherie #67, 2001 Dear Guild, Benjamin Hoff takes what seems like a pretty severe dislike to my friend Larry Sandberg’s book, The Acoustic Guitar Guide, from its title, to its tone, to its content. What many have enjoyed, the folksy tone Larry takes, offends Hoff. He’s certainly entitled to dislike it. However, he seems intent on nitpicking as a way of discrediting the author and his work. He quotes Sandberg and brackets “sic” after “epitome” as though the word or idea were used incorrectly, and he knew better. But the word and idea are correct as a quick glance at a dictionary will show. He objects to a brief history, but this is not a history book. He objects that Sandberg writes, “the steel-strung flattop is probably the kind of guitar you want. It’s the kind of guitar most people want.” Of course Sandberg is not psychic, but even a quick look at any store that sells guitars will show this to be true. The sales of steel-strung to nylon, or to any other kind is about ten to one. I think the problem is that Hoff doesn’t agree. He is entitled to that opinion, too. However, he neglects to write that in his discussion of classical guitars, Sandberg explains why one would or would not want a nylon strung guitar, who uses them, and what they do and don’t provide musically. I think that is sufficient. Hoff writes that the chapter about flattop guitars should be designated “factory” guitars. Yet, Sandberg writes separately about custom and handbuilt guitars. (Full disclosure: Two of my guitars are on the cover of this book and I’m very proud of that. Also, as a friend of Larry’s and a sometime author, I know the depth of his knowledge as well as the limitations, constraints, and hype-oriented zeal of the publishing world.) Certainly, the subtitle is a bit over the top. That’s publishing, folks. No book could be everything to all people and Hoff’s right: the subtitle shouldn’t say it can. That said, I think this one does what it purports: it guides potential players towards a guitar and helps guitar owners to maintain their instruments. As a reviewer myself I would not wish to see Hoff or anyone else censored in their reviews, nor to see only positive reviews. Sandberg’s book has received many other positive reviews. I disagree with Hoff’s assessment and wanted to add my voice to that discussion. ◆
Posted on July 1, 2024July 9, 2024 by Dale Phillips Letter: Price of Vintage Instruments Letter: Price of Vintage Instruments by Michael Darnton Originally published in American Lutherie #61, 2000 Tim, Regarding Chris Foss’ letter in AL#60: If Chris would evaluate the pricing of antique instruments from an economist’s viewpoint rather than a politician’s (in the sense of wanting the power to regulate who gets how much of what), he would understand it better. He says he “understand[s] increases in value with increases in utility, but absolutely do[se]n’t understand increases in value with ‘collectability’.” In fact, utility has almost nothing to do with pricing. As any economist will probably tell you, pricing is a factor of supply and demand: if there are ninety-one pre-war Martin D-45s and no one on the face of the Earth wants them, they will be very cheap. But since there are only ninety-one, and everyone wants them, they are very expensive. 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.