Posted on June 30, 2024May 14, 2025 by Dale Phillips Meet the Maker: Dmitry Zhevlakov Meet the Maker: Dmitry Zhevlakov by Federico Sheppard Originally published in American Lutherie #89, 2007 I first became acquainted with the name of Russian luthier Dmitry Zhevlakov when I received an inquiry from a guitar maker looking for veneers to duplicate one of his famous rosettes. After some research, I discovered that Dmitry is well known in some parts of the world, such as Paraguay and Australia. In the Soviet days, Dmitry’s family was extremely limited in who they could do business with, but the Internet has done wonders to increase his contacts. Although I attended medical school in Russia before the iron curtain came down, I don’t really speak Russian. Dmitry and I communicate through a translation program, and sometimes interpreters. And his English is getting better all the time. I was impressed with Dmitry’s guitars as well as his decorative work. I decided to visit his shop in Tula, Russia. And when the guitarist I was traveling with had his guitar damaged by the airline, I found that Dmitry’s skills extended to guitar repair too! 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 30, 2024May 14, 2025 by Dale Phillips Mechanical Compliance for Soundboard Optimization Mechanical Compliance for Soundboard Optimization by David Hurd from his 2006 GAL Convention workshop Originally published in American Lutherie #90, 2007 People say, “You’ve got to make fifty or a hundred guitars before you get it right.” That makes me crazy. I feel that if you can do the carpentry of putting an instrument together and have idea of what it should look like, you can get 80% or 90% of the way there in terms of top optimization with a mechanical compliance approach. I build many sizes of guitars and ukuleles using different top woods. I have developed an easy method of testing the compliance of a top, that is, how far it flexes under a given force, with a simple fixture. Being able to measure and compare the compliance values has proved to be a very useful thing in optimizing these soundboards for the best sound and stability when I graduate the edges of the tops and carve the braces. After building and measuring many instruments, I have developed a mathematical model that does a very good job of estimating what the target compliance measurements should be for a given instrument size and string tension. I have integrated the model into a spreadsheet which you can use by plugging in just a few simple measurements. 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 30, 2024May 14, 2025 by Dale Phillips Meet the Maker: Mervyn Davis Meet the Maker: Mervyn Davis by Rodney Stedall Originally published in American Luthier #90, 2007 I first met Mervyn in 1998 at his old farm shed workshop in the countryside just outside Pretoria. I had just started my first instrument and had a need to ask questions of someone with experience in building stringed instruments. I found Mervyn to be a deep thinker, very knowledgeable, and willing to share with me the answers to my questions. Mervyn’s knowledge and insight into stringed instruments stems from many years of self-inspired building and innovation. Most South African luthiers like myself can claim to have gone through the Mervyn Davis school at some stage of their building career. The interview below serves to prove Mervyn’s willingness to share his years of experience freely with others. Mervyn, you have thirty-plus years of stringed instrument building experience. Can you tell us what instruments you have made? Guitars, violins, lutes, electrics, archtops, and mandolins of every description. But there are hundreds that I will regretfully never get around to making. My curiosity is still drawing me deeper into the endless well of questions and answers that experimentation offers and which, I am sure, is exactly what got all of us luthiers into the craft to begin with. 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 30, 2024May 14, 2025 by Dale Phillips Grading on the Curves Grading on the Curves: Fitting Bars and Bridges on Archtop Guitars by Steve Andersen from his 2006 GAL Convention workshop Originally published in American Lutherie #91, 2007 The first thing I’ll show you today is how I fit tone bars to the top. Then I’ll talk about fitting the base of a bridge to a top, first with this router jig that indexes off the top and gets me really close to the final shape, then moving on to the final fitting. I brought some extra materials if anyone wants to try hand-fitting an ebony bridge or a tone bar. I use the term tone bar, because I think of braces as being structural. If you built a flattop guitar without braces, it would just fold up. An archtop could be built without braces and it would hold up fine. The archtop’s bars are not so much for structure, so I call them tone bars. One thing that helps me in the fitting process is that my arching is very consistent from guitar to guitar. The arching templates for my guitars started out based on a D’Angelico New Yorker, and have evolved over the years to what I’m using today. So while I have several body sizes, they have similarities based on what I’ve found works well for my sound. 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 30, 2024May 14, 2025 by Dale Phillips Electric Guitar Setup Electric Guitar Setup by Erick Coleman and Elliot John-Conry from their 2006 GAL Convention workshop Originally published in American Lutherie #98, 2009 Guitar companies can only set up their guitars to a certain level and still be cost effective. So even a lot of brand new guitars are brought to our shop to be super set up. Since Erick works for Stewart-MacDonald and we both work in Dan Erlewine’s shop, most of the tools and materials we’re going to mention today are available from Stew-Mac. We do all the neck work on the neck jig. This jig simulates the guitar under string tension. If you simply remove the strings, set the guitar on your bench, tweak the truss rod until everything looks level, then proceed to level the frets, you may find that once it is strung again your leveling job has gone to hell. You haven’t accounted for the abnormalities that string tension usually puts in the neck, and neither have you accounted for the effects of gravity differences between the guitar lying flat on your bench and the guitar in playing position. So we not only use the jig to simulate string tension, we tilt the guitar into playing position before the jig is adjusted. We use about a 70° angle to simulate playing position, since few of the guitar players we know have a stomach flat enough to hold the guitar at a 90° angle to the planet. 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.
