Posted on June 6, 2024January 16, 2025 by Dale Phillips Google Calculator and the Guitar’s Magic Number Google Calculator and the Guitar’s Magic Number by William Leirer Originally published in American Lutherie #96, 2008 Since the frequency of the octave note at fret 12 is two times the frequency of the open string, the fret positions can be determined by finding a number that can be multiplied by itself 12 times to get 2. That’s the guitar’s magic number: the 12th root of 2. In one form or another, it is a part of every calculation related to scales, fret placement, intonation, compensation, and much more. When Google perceives an entry in its search field to be math, it switches from search mode to calculator mode and displays the answer. Any calculator can solve a math problem, and there are plenty of online fret calculators. But with Google Calculator we can view the entire equation at once and see the effect of substituting one part at a time, helping us to understand the “why” behind the numbers. 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 March 7, 2024March 7, 2024 by Dale Phillips The Business of Lutherie, 1980 The Business of Lutherie, 1980 by Richard Bruné, George Gruhn, Steve Klein, Max Krimmel, and Robert Lundberg Originally published in Guild of American Luthiers Quarterly, Volume 9, #4, 1981 and Big Red Book of American Lutherie Volume One, 2000 See also, The Business of Lutherie, 1984 by Ted Davis, Steve Grimes, Bob Meltz, and Matt Umanov Where Are They Now? by Tim Olsen We luthiers who are part of the late-’60s, early-’70s lutherie boom are now witnessing a remarkable event. A generation of instrument makers is coming of age. We have heard much of late about the steadily improving quality and sophistication of our instruments, and we have seen a number of major talents emerge from the pack to achieve wide recognition and respect. As this maturation of skill develops, business ability becomes the deciding factor between failure and success. While the discussion of business skills and theories is, in fact, the subject of this article, thoughtful readers will note that a mature attitude toward our craft is beginning to prevail. The naïve thralldom to the instrument is being replaced by a realistic understanding of our limits and abilities, and an unwillingness to suffer simply because of our love of lutherie. 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 March 6, 2024March 7, 2024 by Dale Phillips Building the Kamanché Building the Kamanché by Nasser Shirazi Originally published in American Lutherie #4, 1985 and Big Red Book of American Lutherie Volume One, 2000 The word kamanché in the Persian language (Farsi) means “small bow.” This instrument, with varying shape, size, and material, is widely used in Middle Eastern countries. The kamanché described in this article is modeled after the Persian (Iranian) instrument. The kamanché is a very old instrument and possibly dates back as much as 1500–2000 years, being another form of the ancient Indian ravanstron. In 1418 A.D. Ben Abd-ul-Cadir wrote a treatise (the manuscript of which is in the University of Leyden) which shows that its existence today has changed little since that time. A 16th-century Iranian miniature painting in the Khamza of the poet Nizami shows a kamanché very similar to the one described below. Various early European travelers to Iran have described it also. Among these are Sir W. Ouseley in 1819,1 and Sir Percy M. Sykes.2 Sykes describes a kamanché in Khorasan, an eastern province of Iran, as follows: “...made of walnut wood. The total length is 37", with fingerboard 9" in length. The instrument is handled like a violoncello; but in shape resembles a mandolin with a long spike of worked iron. The belly is constructed from a pumpkin covered with parchment and mounted with stripes of bone radiating from a turquoise. The neck is pierced on each side with three holes, and with a hollow at the back, 3" in length; there are three wire strings and six pegs, three of which are dummies. The bow resembles our double-bass bows and is 22" in length; it is made of gypchin wood and has a strap and a loop with which to tighten the horsehair. To complete the equipment, a bit of beeswax is tied on to serve as rosin.” 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 March 6, 2024March 7, 2024 by Dale Phillips Making a Weissenborn-Style Guitar Making a Weissenborn-style Guitar by John Calkin previously published in American Lutherie #102, 2010 “You shouldn’t write a Weissenborn story,” said Lamar Scomp, “’cuz I don’t want to build one.” Lamar tends to take everything personally, and the rest of humanity be damned. “You didn’t want to build a dulcimer either, until I twisted your arm. But you had fun with it, didn’t you?” I said. “Yup.” “And didn’t you tell me that playing dulcimer was making you a better guitar player?” “Yeah,” said Lamar suspiciously, like he could see the trap in front of him and knew he was going to step in it anyway. “Well, a Weissenborn is sort of the ultimate dulcimer on its way to becoming a guitar. The plates are flat, but braced like a guitar. My version has no taper to the sides, just like a dulcimer. Since it’s meant to be played with a slide, there are no frets to mess with, and setting the high action is a breeze. And it’s fun to play. I think you should check out some ace players on YouTube. You’ll be impressed.” “I don’t believe nothin’ I see online. It’s all computerized trickery,” he said. “OK, Lamar. But the Weissenborn is your next step on the way to making guitars. I think you need to build one.” 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 March 4, 2024March 5, 2024 by Dale Phillips Seedlac Seedlac by Nicholas Von Robison Originally published in Guild of American Luthiers Data Sheet #150, 1980 and Big Red Book of American Lutherie Volume One, 2000 Seedlac resin, when combined with alcohol, gives a magnificent spirit varnish suitable for spraying or French polishing with qualities far superior to its better known cousin shellac. It’s more transparent, faster drying, harder, and more resistant to scuffing and moisture. The latter quality is of particular value as sweaty hands can play havoc on a shellac-based finish on a musical instrument. With all this going for it, it is not well known or used by luthiers to a great extent. The primary reason is that the major paint and varnish manufacturers buy most of the crop for their own needs, leaving little for the small-scale importers. About 60% of the resin is collected from an area between Calcutta and Central India with lesser amounts coming from Myanmar, Thailand, and Laos. There is a distinct difference in the resin color from different areas. The lac west of Calcutta is yellow or orange, east and south of Calcutta it is red, a pale red in Assam, and a dark red in Thailand. The resin comes from various indigenous trees, primarily kusam (Scheichera trijuga) which has the best color (pale yellow) and quality, but others such as pala (Wrightia tomentosa), ber (Berrya amomilla), and ghont (Bursera serrata). Two crops occur each year, summer and winter, and they revolve around the life cycle of a scale-like insect (Laccifer lacca) which infests the host trees. This small (about the size of an apple seed) red critter was cultivated as early as 80 A.D. for the purplish dye it contains. But not until 1580, in the records of Akbar the Great, do we find any mention of seedlac resin for varnish making. 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.
