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Letter: Vacuum Clamp

Letter: Vacuum Clamp

by David Haxton

Originally published in American Lutherie #67, 2001

 

GAL:

I share Jon Calkin’s enthusiasm for the dished workboard (see AL#65). I know it’s made my guitars better. But he could trade all his clamps and dedicated workstations for a much simpler and, I would say better, solution: the use of a vacuum pump. You get absolutely even clamping pressure across the entire face of the plate and no dents from over-tightened clamps. In fact, I preshape and sand all my braces before gluing, lessening the need for chisel work after glue-up, and the whole procedure is quicker. I’ve also used my vacuum pump to make radiused sanding blocks for fretwork and laminated linings, and they make great hold-downs. My pump came from a mail-order surplus supply company for about $80.

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A Special Guitar Neck Modification

A Special Guitar Neck Modification

by Ralph Bonte

Originally published in American Lutherie #103, 2010



Last week I was able to make someone very happy. Christophe contacted me through my website, in pursuit of a luthier who could help him with his problem. Four years ago he had an accident while cleaning up the bushes surrounding his house. He was working with a wood chipper and wearing safety gloves. To make a long and painful story short, had he not worn the gloves he would have lost the tip of his left thumb. Due to the gloves, his thumb got caught in the motor of the chipper and was torn out of his hand, causing troubles for the muscles and tendons in his arm. Christophe used to be a recording artist playing the guitar. It took him four years of physical therapy to overcome and adapt to the new situation.

In the past year, the urge to play the guitar again became overwhelming. However, he could no longer play a regular guitar since he lost the support of his left thumb. He tried a prosthesis, but that didn’t work. He found it too awkward. When I read his message, I immediately agreed to do the work, although I did not know how I was going to do it.

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Questions: Amplifying Flattop Bass

Questions: Amplifying Flattop Bass

by Harry Fleishman

Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie Volume Six, 2013



Mark Brantley of Appleton, Minnesota asks:

I recently ordered Tim Olsen’s plans for the Flattop Bass (GAL Plan #13). Do you have any advice on a good electric pickup for it?


Harry Fleishman of Boulder, Colorado responds:

It’s difficult to offer too much advice about amplifying your acoustic bass without more input about how loud you need to play, how high a fidelity to the instrument’s actual acoustic voice you want, and what your budget is; but here goes anyway.

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Questions: Guitar Air Cavity

Questions: Guitar Air Cavity

by Art Davis, Alan Carruth, and Joe D. Franklin

Originally published in American Lutherie #63, 2000 and Big Red Book of American Lutherie Volume Six, 2013



Tom Blackshear of San Antonio, Texas asks:

Is there a formula for measuring the air cavity of a guitar box, then figuring out how to keep the same amount of air with slightly different box dimensions?


Art Davis of San Diego, California responds:

Use bird seed. It’s not totally accurate but it’s easy. Pour it in, pour it out, and measure it. Hold the guitar really well because ten or twenty pounds of bird seed is heavy. Also, as per W.D. Allen’s, “Basics of Air Resonances,” in The Big Red Book of American Lutherie Volume 1, changing the air volume doesn’t always do what you think it’s going to.

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Meet the Maker: Henry Stocek

Meet the Maker: Henry Stocek

by John Calkin

Originally published in American Lutherie #62, 2000 and Big Red Book of American Lutherie Volume Six, 2013



There is a host of nonluthiers without whom lutherie would suffer. I refer to the makers and suppliers of the products that eventually comprise our instruments — the wood, trim items, pickups, cases, hardware, and finish products that make instruments more functional and more interesting. It should come as no surprise that most of these folks are as fascinating and dedicated as any luthier. We’ve met a few of them in these pages before, and I hope to give more of them the exposure they deserve.

First up is Henry Stocek, the celluloid guru who introduced us to the art of turtleoid creation (see Reinventing the Celluloid Tortoise). He created Deep River Vintage Instrument Supply to furnish the trade with imitation tortoiseshell pickguard stock that was reminiscent of the color and patterns used in the ’30s. Other items are on the way.

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