Category: +How-To

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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.

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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.

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Questions: Custom CNC Orders

Questions: Custom CNC Orders

by Dana Bourgeois

Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015

 

Greg Pacetti of Fairbanks, Alaska asks:

Do you know of a CNC machining company that could take a custom neck order of as little as thirty in quantity?


Dana Bourgeois of Brunswick, Maine answers:

Small runs are nice in theory, but one-time engineering, programming, and setup costs can kill you. For example, I just had a run of twenty-five pyramid bridges made by Maverick Precision Wood Products (207-225-5043; maverick@exploremaine.com). The one-time costs came to about $500, after which bridges cost $12 each. If I never make any more than twenty-five, the overall cost of each bridge (including setup, and so on) is $32. If I had wanted only one, Maverick would have made just one, but it would have cost $512. In reality, I will probably use five hundred of them over the next ten years and my cost will eventually come down to $13 each.

Also remember that I supplied the CAD drawing, which meant that I got exactly the bridge I asked for. The engineering cost would have been much higher if I had given Maverick a bridge from which to generate their own drawing.

The bottom line is to try not to make runs that are either too small or too large. A small builder might use up to twenty-five pyramid bridges over a three-to-five year period. At that rate, a cost of $32/bridge is realistic. ◆