Posted on June 3, 2025June 20, 2025 by Dale Phillips Resurrecting the Family Banjo Resurrecting the Family Banjo by John Calkin Originally published in American Lutherie #84, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 Though the title says banjo, this could as easily be about any stringed instrument. We’ve all seen them, the family “heirloom” that some relative has decided deserves to be played again, perhaps because they think it will be cheaper than buying a comparable new one, but more likely for some sentimental reason. The number of such beaters you actually get to work on may vary with your locality. Sentimentality didn’t count for much in New Jersey, and I had a collection of junky guitars that had been abandoned once the concerned relative learned what the cost of resurrection would be. Virginians, on the other hand, seem to put more stock in sentimentality and I’ve had the chance to rebuild several instruments that probably weren’t worth the fee I charged. Though this is about restoring an instrument to playability, please understand that we’re not talking about restoration as a vintage specialist would understand it. That sort of restoration often requires specialized knowledge and may demand a lot of research as well as the exchange of hefty sums of cash. It’s not much fun, either, unless you suffer a certain type of personality. In fact, some of what you and your customer may decide to do may interfere with future restoration, so it pays to have some idea of what’s collectable and what’s not. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 8, 2024May 14, 2025 by Dale Phillips Meet the Maker: Chuck Lee Meet the Maker: Chuck Lee by Steve Kinnaird Originally published in American Lutherie #95, 2008 Chuck Lee, versatile fellow that he is, has worn a number of hats over the years. For more than three decades he has been in the plumbing trade, and for the last fifteen has held a Texas Master Plumber’s license. (And he has the dust collection system in his shop to prove his prowess with the pipes.) For seven years he worked with Wycliffe International, an organization engaged in translating the Bible into tribal languages. Currently he’s at the helm of Chuck Lee Banjo Company. Located just south of Dallas, this small firm turns out over eighty open-back banjos a year. Recently, Chuck took an afternoon off from his busy schedule to talk about his work. It was a pleasure to visit with my friend, and learn more of his story. Plus, his tidy shop and efficient use of space are always an inspiration. About halfway through we were joined by his wife Tammy, and the conversation really got interesting. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on June 6, 2024May 9, 2025 by Dale Phillips Banjo Fifth Peg Press Banjo Fifth Peg Press by John M. Colombini Originally published as Guild of American Luthiers Data Sheet #207, 1982 and Lutherie Tools, 1990 Procedure: Make a bushing from a 3/4"×3/8" piece of steel or brass round by drilling a 7/32" hole and countersinking one end. Round off the bottom of a 4" C clamp screw so it seats in teh countersunk hole in the bushing centering the clamp. Cut a hardwood block 2"×1 5/8"×1 5/8" cutout to fit the banjo neck. I use a contour gauge or my actual size templet. Apply 1/16" piece of leather to the cutout using contact cement. The drawing should explain the usage. The important part is to be sure the bushing is longer than the shaft of the tuning peg. Add spacers between the bushing and the peg shaft if you should come across a longer shaft or make a slightly longer bushing. ◆
Posted on June 6, 2024May 5, 2025 by Dale Phillips Review: Earl Scruggs and the 5-String Banjo Review: Earl Scruggs and the 5-String Banjo Reviewed by James Arial Originally published in Guild of American Luthiers Newsletter Vol 2 #1, 1974 Earl Scruggs and the 5-String Banjo Peer International Corporation 1740 Broadway, New York, N.Y. 10019 This book was published in 1968. It is a comprehensive study of the 5-string banjo including a very well written adn illustrated chapter on banjo construction. The seventeen pages in this section of the book describe all phases of construction except that of making a resonator. There is an excellent segment on inlaying using a unique technique of sandblasting to carve the recesses for fancy work. The book’s $10.95 retail price might scare off the casual luthier, but if you’re interested in Scruggs type picking as well as banjo making it is well worth the price. The technique used by Scruggs is very clearly described in step by step procedure. Thirty-five of his best known songs are presented in easily read tablature. ◆
Posted on October 31, 2022May 21, 2025 by Dale Phillips Decades of Banjo Decades of Banjo by Tom Morgan from his 1984 GAL Convention lecture Originally published in Guild of American Luthiers Quarterly, Volume 12 ,#4, 1984 I would be a lot more comfortable today if I could have a gutiar and a five piece band, but I quickly discarded the idea of trying to set an hour’s lecture to music. I learned to love the sound of a good banjo not too long after the vintage years, and have had the privilege of examining a lot of good instruments. RB was the designation the Gibson company used for their five string or regular banjo, and TB means tenor banjo. Small numbers such as 2,3,4, and 5 were used, and just before the war early numbers like 7, 12, 18 and 75 came into use. The new models after World War II started with 100, 150 and 250, which was also their list price, and an 800 was added later. The Air Force sent me to Washington D.C. in 1955, where I met Callie Veach. Callie was originally from Arthur, West Virginia, and had several mountain traditions in his past such as hunting, making whiskey, riding horses, and making music. By the time we knew him, he worked at free lance carpentry, but kept a large number of musical instruments, which he modified, inlaid with Mother-of-Pearl and used to horse-trade with the local musicians. 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.
