Posted on January 2, 2020March 7, 2024 by Dale Phillips Gimme Back My Minutes Gimme Back My Minutes by Rick Turner previously published in American Lutherie #26, 1991 and Big Red Book of American Lutherie, Volume Three, 2004 I’d like to share a couple of things with those in the repair business: how I handle the financial end of repair work, and what I’m trying to do to gain back some of the eight to ten hours a week I currently lose talking to customers. I do repair work for Westwood Music in Los Angeles, working as an independent contractor. I set my own hours, use my own tools, pay for my own worker’s compensation insurance, and establish the prices for the repair work. There is one other part-time repairman, David Neely, and he works the same way I do. Prices for repair work are set for each job either by direct quote from our price list or an estimate of time at $50 per hour. On big jobs or for building custom Strats from generic parts I drop the hourly to $45; I figure there’s less time wasted talking on bigger jobs. Our store sales people sometimes take in the work (the more of that the better), and they might make a ballpark estimate. We in the shop usually call the customer to give a closer price and/or suggest additional needed work. When the job is complete, I fill out a four-part sequentially-numbered store invoice which includes labor, retail-parts cost (at the net-to-musician price — we figure any applicable discounts), sales tax, and the invoice total. I keep a copy which I use to bill the store, and the second copy goes on a clipboard in sequential order. The instrument, along with the two remaining copies, is put in the front of the store in the “to be picked up” pile. When the customer picks up the instrument, he or she gets a copy, and the remaining copy is filed with the store’s daily receipts. 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 October 31, 2019February 5, 2024 by Dale Phillips Bow Rehairing Bow Rehairing by Paul Hill previously published in American Lutherie #91, 2007 Bows need rehairing on a regular basis. As bow hair ages it gets brittle and breaks more easily, and with use it wears itself smooth, won’t hold rosin as well, and produces a thin sound. Sometimes hairs break more on one side than the other, pulling the bow sideways. Bow bugs may chew the hair into a frizzy pile. Some fine violinists can hear the change in tone and have their bows rehaired every few months, and some fiddlers wait till there are only a few dozen hairs left. Beginning violinists may not notice the degradation in tone since it happens slowly, but most will notice immediately when they get new hair! I rehair about fifty bows a year, and have been doing it for thirty years. My one-man repair shop is in my basement and space is at a premium, and since this is not my favorite job, I’ve evolved a compact system that works for me, minimizing the time and tedium, and making it enjoyable in a Zen kind of way. 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 August 21, 2019March 7, 2024 by Dale Phillips Constructing the Middle Eastern Oud, Part One Constructing the Middle Eastern Oud with Peter Kyvelos, Part One by R.M. Mottola previously published in American Lutherie #94, 2008 See also, “Constructing the Middle Eastern Oud, with Peter Kyvelos Part Two” by R.M. Mottola Here in the USA, interest in ethnic music of all sorts has seen an increase in recent years. Probably driven by immigration from many parts of the world and by the rise of so-called world music, this increased popularity manifests itself for us in an increased interest in the stringed instruments used in various ethnic musical styles. For instance, we’ve seen much interest lately in the oud, also commonly spelled ud or ’ud. Starting off with absolutely no knowledge of a subject (as I did with this one), it is probably always a wise first step to consult the experts. Of course, with no knowledge of the subject, even the process of identifying subject-matter expertise is a problem, but I’ve always found that persistent and wide ranging investigation into just who the experts are is a fruitful approach. Eventually it becomes obvious that the same handful of names come up again and again in these queries. During the process of identifying those individuals most likely to be experts on the subject of the oud, it was both unusual and interesting that only one name came up repeatedly. Whether I asked musicians, luthiers, or academics, in this country or in the Middle East, the person that was universally regarded as the foremost expert on the oud was Peter Kyvelos. Working out of his shop Unique Strings in Belmont, Massachusetts, Peter Kyvelos has built close to 200 ouds and other Middle Eastern instruments. The shop, located in a section that is home to many Armenian and other Middle Eastern immigrants, also repairs pretty much all stringed instruments, plucked and bowed, domestic and foreign. But Middle Eastern instruments have been the focus of the shop and of the lutherie of Peter Kyvelos for the last thirty-five years. This dedication has earned Peter the reputation as the expert in this field. It has also earned him a National Heritage Fellowship from the National Endowment for the Arts in 2001. 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 June 28, 2019March 7, 2024 by Dale Phillips The Imperator The Imperator Revisiting the Lyra Guitar by Alain Bieber previously published in American Lutherie #88, 2006 The year 1806 is very special for my personal guitar addiction. As reported in a previous contribution (AL#80), 1806 is when Giovanni Battista Fabricatore of Naples produced the first guitar I know of with a fully adjustable neck. This lyra guitar (or lyre guitar), now in the Paris museum, might have inspired Stauffer and the whole Viennese School. I have no proof of that, but I remember that Stauffer started his career by replicating the Neapolitan master’s models. Legnani also played a role, as everyone knows. I have become a complete fan of adjustable necks. After a dozen guitars inspired by the Stauffer model, I am more and more attracted by this basic option. I no longer see the superiority of the fixed neck. To me it is less convenient and less stable across time, due to the difficulty of adjusting the action. To summarize, I admire G.B. Fabricatore as well as the Viennese luthiers who enhanced his pioneering efforts. For these reasons I decided I should celebrate the bicentennial anniversary of the 1806 Fabricatore by building a lyra guitar, with an adjustable neck, of course. I would also find out through this exercise if such instruments were really as bad as commonly said. The so-called neoclassical infatuation flooded the world at that time and produced the lyra guitar. This instrument is a reflection of the Greco-Roman craze which influenced all aspects of arts and crafts, including the lutherie world, as early as 1750. Without that context, the lyra guitar would have been either nonexistent or very different. The neoclassical movement emerged during the Enlightenment as a facet of the profound desire for change of the whole society. Among its foundations are the concomitant archeological findings of the Naples area. A real cult for the artistic accomplishments of the ancients resulted. From this basis, a new, more austere style of furniture with multiple links to the archeological images available appeared and seduced a society which was a bit fed up with the royal styles that preceded it. All artists and craftsmen where ready for a profound change. In a rather short time the Louis XVI style was born. This moment is still considered by many as the apex of European cabinet 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.
Posted on June 24, 2019March 7, 2024 by Dale Phillips Grading and Resawing Lutherie Wood Resawing Lutherie Wood by Bruce Creps previously published in American Lutherie #91, 2007 See also, “Sharpening the Stellite Teeth on the 3" Hitachi Blade” by Bruce Creps “Grading and Curing Lumber” by Bruce Creps Harvesting, milling, and processing tonewood can be a wasteful business. Much of the wood used by luthiers comes from large, older trees, elders worthy of respect. As someone fortunate enough to work with these rare, high-grade woods, one of my top goals is to minimize waste by processing this valuable resource efficiently. This article concerns the Hitachi CB75F resaw, though much of what follows is general enough to be applicable to other resaws. Luthiers who buy resawn sets might glean information about how their wood is processed and what to request or avoid when ordering. A note on nomenclature: A resaw is an upright or horizontal bandsaw set up to make uniform rip cuts. The front of the saw is where you start feeding a cut. The face of a board is its wide, longitudinal surface; the edge is its narrow longitudinal surface; the end is its crosscut surface. The resaw blade is made up of its band and its teeth (terms not necessarily interchangeable). I refer to vertical-grain wood in place of quartersawn wood to avoid confusion, since a sawyer can get vertical-grain cuts without quartering a log. 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.
