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Questions: Double Bass External Linings

Questions: Double Bass External Linings

by Arnold Schnitzer

Originally published in American Lutherie #97, 2009



Quincy M. from the Internet asks:

Some double basses have what look like external linings, strips of wood on the ribs at the top and bottom edges. Can someone please tell me what the purpose of these strips is and also what they are called?

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Questions: Bass Scroll

Questions: Bass Scroll

by Guy Rabut, Roman Barnas, and Tim Olsen

Originally published in American Lutherie #89, 2007



Paul W. from the Internet asks:

Do you have any advice for someone who is carving his first bass scroll? I have read instructions and seen pictures, but I’m having trouble figuring out what to do after the first turn of the scroll is blocked out.

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.
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In Memoriam: Hammond Ashley

In Memoriam: Hammond Ashley

Passed on May 1, 1993

by Dave Wilson, Peggy Warren, and Jonathon Peterson

Originally published in American Lutherie #34, 1993 and Big Red Book of American Lutherie Volume Three, 2004

Hammond Ashley died on May 1, 1993 at the age of 91. We have lost an advocate for fine music and fine musical instrument making, and a good friend. Music was always an important part of Ham’s life. He played banjo in a dance band while studying mechanical engineering at Stanford University. Later, when working for the U.S. Army Corps of Engineers in Europe, he bought a bass and began learning to play. Years later, while working in Seattle as an engineer for Boeing, he played bass with the Highline Symphony, a group he helped to found. At the age of 80, Ham’s hearing deteriorated so he couldn’t hear directions from the conductor, so he took up the cello, which can be played without a conductor in smaller groups.

He had a woodworking background, too. Ham had his own cabinet shop 1928 and specialized in custom antique furniture reproductions and fine interior woodwork. His clients included Edward G. Robinson, Jack Benny, Jerome Kern, and Mrs. Oscar Hammerstein.

After the Christmas 1963 layoffs at Boeing, Ham planned on having an active retirement. With a background in engineering, woodworking, and music, lutherie seemed a natural choice. He set up shop under the airport’s landing approach and worked on a little of everything — organs, pianos, and even furniture. But the second floor was devoted to lutherie. He ended up having a whole new 30 year career.

His lively interest in advancing the science of sounds led him to explore both the old and the new. Making, restoring, and repairing included experiences with many varieties of stringed instruments including gamba, bass, cello, viola, violin, the eight members of the “new family” of violins, rebec, sitar, sarod, crwth, and harp. But his specialty was the violin family, particularly basses. He worked with Carleen Hutchins of the Catgut Acoustical Society, and was an active member of the GAL.

Dozens of people worked for and with him over almost 30 years. Ham set the pace. You might see him elbow-deep in papers at his desk, or working with the plates and winding up with glitter all over his face, or all bent over, with curled up hands, carving a scroll, varnishing a bass, or talking with customers, many of whom became friends. At age 90 he cut his hours down by taking more than an hour for lunch, and so putting in less than 44 hours a week.

Ham made music by playing, by his craftsmanship, and by making instruments usable and available to others. Joyful noises came from the house over the years as Ham had fun making music with others.

Ham knew what he liked, and generously helped himself, as he in other ways helped others. Friends were invited to stay to lunch or overnight on the spur of the moment. He treated others as he’d like to be treated, giving them the freedom to be themselves. When asked if something was all right with him, he’d say something like,“Whatever works for you,” or, “Don’t undervalue yourself or your work, or others won’t appreciate what you do for them.”

Ham was well educated, interested in a wide variety of subjects, and had a wide variety of friends. He was a woodworker, a builder, a storyteller, a figure-it-out scientific kind of person, a thinker who worked with his hands, a courteous, determined, matter-of-fact, down-to-earth gentleman. He was greatly loved, and he will be missed. Hammond Ashley Associates, Inc. will continue under the guidance of Dave Wilson and Paul Hammond Ashley, his grandson.

— Dave Wilson and Peggy Warren

Photo by Michael Darnton.

Ham called the Guild office a few weeks ago to let us know he was dying, and to say goodbye and thanks for everything. I asked him how he was feeling about it, and he said he was tired, that he was ready. He said he missed his wife. They were married for 63 years. She died in 1991. He said there was to be a party at his house. He was so matter-of-fact.

I went up there with my wife, Ruth. He was sitting in a wheel chair, looking very content. There were kids running around, and co-workers, family and friends eating and talking, having a good time. Not a tear in the house.

Ham and I talked. It was like every other conversation we had ever had. He had such grace and dignity, such honesty. We shook hands, and said goodbye.

I learned a lot from Ham, almost none of it about stringed instruments. What a man! I loved the guy.

—  Jonathon Peterson

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Letter: Sloane Bass Tuners

Letter: Sloane Bass Tuners

by Fredrick C. Lyman, Jr.

Originally printed in American Lutherie #66, 2001

 

Dear Tim and Deb:

Sorry to learn of the passing of Irving Sloane. I met him at a convention in Pennsylvania. He was displaying his precision guitar machines and I remarked that there was nothing comparable for the bass viol. He asked if there would really be a market for such. I said there really were no good bass machines and all bass players were agreed about that. I have been so out of touch that I have not seen his bass machines, but it appears that they are the new standard of the industry.

I drew pictures of strange imaginary instruments for years before I got Irving’s book and found it was really possible to build something. It’s great that you have been reaching a young audience that has the possibility of developing their work over a sufficient time to solve the problems. In retrospect I should have done many things differently. I did build a lot of the instruments that I was interested in, but it was not a really sustainable enterprise and I found myself too old and feeble to go on. In January I discovered that I had the same disease as Irving Sloane. I had drastic surgery and it seems to have been a success, but my overall vitality is not great.

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In Memoriam: David Minnieweather

In Memoriam: David Minnieweather

1964 – 2009

by Veronica Merryfield, and David King

Originally published in American Lutherie #100, 2009

David’s life’s passion was bass, both as a maker and an accomplished player — although he would say he just noodled. He started making bass guitars at middle school where his teacher instilled the concept of starting with a centerline, and of not building until it looked right on paper. David was largely self-taught, learning bit by bit from others’ advise and his own work.

His basses were liked and respected by luthiers and players, ensuring his popularity at his regular NAMM appearances.

“Thoughtful,” “genuinely complimentary,” “he smiled with his whole body,” “kind, well spoken, the kind of dude you could connect with immediately,” “an amazing person,” “a huge influence,” “a true gentleman,” are just a few of the comments made by players and makers. Whether you met him once, many times, or only on-line, he left a profound impression.

I am going miss our get-togethers, where all things bass would be talked over, design ideas discussed and pulled apart, what players wanted and didn’t, why things worked or not. He was an inspiration, encouraging trial and experimentation. I am forever indebted and thankful for this, and will noodle as he directed.

David, may your soul be truly at peace and noodling with the Great Maker.

— Veronica Merryfield

Photo by Jonathon Peterson.

I always marveled at David’s musical ability. He once told me how he tried to learn all of Stanley Clark’s seminal solo album by ear in the 8th grade by going to the music store everyday and playing on a Kramer bass. I was also amazed by David’s ability to hear an instrument or a pickup and tell me what it sounded like when compared to other instruments from the near or distant past, where it excelled or was lacking. He had an instinctive understanding of how it would “sit in the mix.” His ability to listen extended to his many deep friendships. Always a quiet person, David would let an initial bluster in an often one-sided conversation blow over, but then redouble his concentration when you were finally getting around to the meat of your thesis. Our wide-ranging conversations were always punctuated with laughter no matter how dark the subject.

As a luthier, David had a knack for finding extraordinary pieces of wood and melding them into something gorgeous. He loved fine details, frequently becoming so engrossed in his work that the passage of time was lost. He called one morning saying that he’d been up all night sanding the edge of a body. At dawn he realized that he’d removed more than a 1/4" of wood all the way around, but he was finally pleased with the results. When I suggested that he trace the shape and alter his template, he implied that it was only this particular instrument that had needed that quantity of sanding.

David did most of his jointing and surfacing with a hand-held router, and the results rivaled the best that I’ve seen. His glue lines were immaculate, and his finishes were as flat and optically perfect as any that I have seen.

David’s passion and his friendship enveloped and inspired me. For this I’ll be eternally grateful.

— David King