Posted on October 31, 2019February 5, 2024 by Dale Phillips Bow Rehairing Bow Rehairing by Paul Hill previously published in American Lutherie #91, 2007 Bows need rehairing on a regular basis. As bow hair ages it gets brittle and breaks more easily, and with use it wears itself smooth, won’t hold rosin as well, and produces a thin sound. Sometimes hairs break more on one side than the other, pulling the bow sideways. Bow bugs may chew the hair into a frizzy pile. Some fine violinists can hear the change in tone and have their bows rehaired every few months, and some fiddlers wait till there are only a few dozen hairs left. Beginning violinists may not notice the degradation in tone since it happens slowly, but most will notice immediately when they get new hair! I rehair about fifty bows a year, and have been doing it for thirty years. My one-man repair shop is in my basement and space is at a premium, and since this is not my favorite job, I’ve evolved a compact system that works for me, minimizing the time and tedium, and making it enjoyable in a Zen kind of way. 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 September 10, 2019March 7, 2024 by Dale Phillips Meet the Maker: Dan Kabanuck Meet the Maker: Dan Kabanuck by Roger Alan Skipper previously published in American Lutherie #104, 2010 Dan, you look familiar, yet you’re from my opposite side of the country, and you’re new to lutherie. I’ve met scores of luthiers, spoken to hundreds more, and processed thousands of your orders. I’m a customer service rep at Luthiers Mercantile International, LMI, and you probably saw my picture gracing page four of the latest catalog, holding the “new LMI Shred-o-matic ‘Dandolin’ guitar kit.” It’s not a real instrument, by the way; several people have asked. I was in the middle of building my electric guitar when my picture was taken, and I grabbed a ukulele neck and held it on my body, and Chris Herrod snapped a picture. Chris is the Sales Manager, and the most brilliant person at LMI — he hired me! Your first two instruments, an OM-sized acoustic and a Les Paul electric, seem several cuts above most beginning luthiers’, with marvelous wood and beautiful detail and finish. Do you have a woodworking background? I actually sold real estate for sixteen years — I’m a licensed broker — but burnout and a tanking market led me to find a real job. My woodworking background is fairly limited: shop classes as a kid and some construction work in my late teens. Quite often I’d do repairs on the homes I was selling rather than deal with a contractor. My father is a furniture refinisher and repairman, so I’ve learned some of that. I’m by nature an arts-and-crafts person and have a general knowledge of tools. I discovered LMI just over three years ago on Craigslist. When I started, I had no lutherie knowledge, and had never considered building an instrument. I wanted to be able to talk intelligently about LMI’s products and how they work, and my nature urged me to build not one, but a couple of guitars. 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 September 6, 2019March 7, 2024 by Dale Phillips Meet the Maker: Norman Pickering Meet the Maker: Norman Pickering by N.P., with Barbara Goldowsky previously published in American Lutherie #95, 2008 Norman Pickering does not understand the concept of retirement. He celebrated his ninety-second birthday on July 9, 2008, and he is still immersed in studying the properties of violin, viola, and cello bows. This is a logical follow-up to his lifelong study of the acoustics of bowed instruments, as a player, maker, and scientist. Though musical acoustics is his overriding passion, there have been lengthy, but fascinating detours along the way into fields as various as medical ultrasound, aircraft instrument design, and his most famous invention, the Pickering phonograph tonearm and cartridge. Rather than trying to condense his multiple careers and achievements into a question-and-answer interview, Norman agreed to share his life story — so far — in an essay he wrote after moving to our current home in East Hampton. I think AL readers will enjoy it. With characteristic modesty, he calls it simply “Biography.” — Barbara Goldowsky I was born in 1916 in a small fishing and farming town where both sides of my family had lived for at least three generations. Just at that time it was on the way to being submerged in the borough of Brooklyn by development and road building. By the time I was seven years old it was no longer the integrated semi-isolated village my parents and grandparents had known. My mother’s family were farmers and my father and his father were engineers. My future education was decreed almost from birth: I would follow my father’s plan for me. And so I did; after a happy and successful time in grammar and high school, I entered Newark College of Engineering and finished in 1936, a few weeks before my twentieth birthday. I enjoyed engineering, but found that my interest in music was much too strong to be ignored. 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 August 30, 2019March 7, 2024 by Dale Phillips Meet the Forester: Andrea Florinett Meet the Forester: Andrea Florinett by Greg Hanson previously published in American Lutherie #93, 2008 In the summer of 2005, I took a step that many an amateur luthier eventually must — I ordered European spruce tops from a European source over the Internet. The Internet has become a vital vehicle for commerce, but when it comes to selecting tops for acoustic guitars, nothing can replace hands-on inspection, even for those of us with less than full-time professional experience. The tops that showed up on my doorstep two weeks after I clicked the “Submit Order” button exceeded my expectations, but I liked some better than others. How, then, to solve this problem other than trekking off to Europe to test, tap, and touch the so-called Holy Grail of the Mother Continent, Picea abies? As a professor of German and a fluent speaker of the language, I threw caution to the wind and wrote to Andrea Florinett of Tonewood Switzerland in Graubünden, Switzerland. I took advantage of the three main reasons many teachers become teachers — June, July, and August — to ask Andrea if I could work for him for a couple of weeks on a volunteer basis. I can only imagine what reservations the Florinett family might have had, but a week later I received a very welcoming e-mail from Annette Florinett, Andrea’s wife, accepting my offer. Tonewood Switzerland is largely a family-run operation with one full-time employee, and they were glad to gain a helping, albeit inexperienced, hand. 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 August 23, 2019March 7, 2024 by Dale Phillips Gibson Banjo Information Gibson Banjo Information by Tom Morgan previously published as Data Sheet #28, 1976 Recent popularity of the banjo and a need for wider dessemination of various bits of information have prompted this writing. Much of the information is based only on opinions formed during approximately ten years of experience working on banjos, while the instruments themselves were made over a period of 60 or more years. It should then be remembered that many variations are likely to have occurred. During the years banjos have been manufactured, one strong contrast is noticeable. During the time of its wide popularity around 1920–1930, the tenor banjo was the style. The people then playing 5-string often makes it desireable to convert these. Gibson banjos used a designation of RB for regular banjo of 5-string, TB for tenor banjo, MB for mandolin banjo, and so forth. Therefore, reference to a model-00, for example, should be understood to represent the different possible models that were, or may have been made (MD-00, RB-00, etc.) The shell or rims were made to be an interchangeable basis for either of the different types, and a mandolin banjo can be converted to a 5-string banjo by installing a different neck. Problems in fitting may be encountered due to several shapes of the heel, and two sizes of lag screw (8-32 and 10-32 threads) being used. Also, shell diameters vary from about six inches in some banjo ukes to a 24 inch banjo bass. The most popular sizes were 10 1/2 and 11 inches, with the 11" size the only one well suited for upgrading with one of the better MASTERTONE tone rings. 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.
