Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: Single String That is Too Sharp Questions: Single String That is Too Sharp by Neil Kok Originally published in American Lutherie #102, 2010 Neil Kok from Finland adds his answer to the question in AL #100 about problems with a single string that is too sharp: I was interested in John Calkin’s answer about modifying the saddle to remedy a guitar string that is too sharp. I have an example from one of my own guitars that may complement John’s answer with another solution. If the nut is not made exactly correctly, the string may not rest on the front edge of the nut but farther back, or even on its back edge. If the gap between nut and string is small enough, this may cause a sitar-like clatter and call our attention to the nut. But if there’s no clatter we may not notice this at all, and wonder why the string is sharp. I just filed a bit at the groove for the B string, giving it the right form, and the guitar plays beautifully in tune now.
Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: Liquid Hide and White Glue Questions: Liquid Hide and White Glue by Dale Zimmerman Originally published in American Lutherie #101, 2010 JM from the Internet asks: Both liquid hide glue and white glue are reviled by a lot of luthiers, but I suspect that a lot of highly regarded instruments were made using these glues, since these were widely used before yellow glue was invented. This makes me want to take a more objective look at these glues. Does anyone have a comprehensive comparison of the qualities of these glues and also of hot hide glue and yellow glue? Dale Zimmerman from Franklin International in Columbus, Ohio responds: As JM suggested, there are clearly differences between the various types of glue, and luthiers have learned to especially appreciate the characteristics of hot hide glue and yellow glue and feel less comfortable with liquid hide glue and white glue. With that in mind, it might be good to start with the fact that there is almost no difference in strength between the various categories of products. 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 July 1, 2024July 9, 2024 by Dale Phillips Questions: Guitar Stand Questions: Guitar Stand by Cyndy Burton Originally published in American Lutherie #67, 2001 Doug Lancaster from cyberspace asks: I’ve been working on the design of a high-end classical guitar stand and have begun to think about marketing it to dealers of classical guitars. Any suggestions? Editor responds: Yes, a quick look through Soundboard magazine (www.guitarfoundation.org), Guitar Review (www.guitarreview.com), and Acoustic Guitar magazine (www.acousticguitar.com), will reveal an unprecedented abundance of dealers. The websites are very handy places to get a feel for the relative values of instruments, too. Here’s a list which is by no means totally inclusive: (By the way, all the websites mentioned in this column are available as links at the GAL page.) Richard Bruné (Evanston, IL) www.rebrune.com Classic Guitars International (Los Angeles, CA area) www.classicguitar.com GSP (Guitar Solo, San Francisco, CA) www.gspguitar.com Guitar Salon International (Santa Monica, CA) www.guitarsalon.com The Guitar Salon (Beverly Maher, NY, NY) www.theguitarsalon.com Guitars International (Armin Kelly, Cleveland, OH) www.guitars-int.com Handpicked Guitars (Rik Jonna, Detroit, MI area) www.handpickedguitars.com Kirkpatrick Studio (Baltimore, MD) www.kirkpatrickguitar.com Pioneer Music (Portland, OR) www.pioneermusicco.com Rare and Fine Guitars (Bruce Banister, Jefferson, IA) www.classicalguitarnet.com Jerry Roberts Guitars (Nashville, TN) www.lamancha.com Rosewood Guitar (Seattle, WA) www.halcyon.com/rosewood Santa Fe Guitar Works (Santa Fe, NM) http://santafeguitar.com Trilogy Guitars (John Silva, Los Angeles, CA) www.trilogyguitars.com Dan Zeff Guitars (Los Angeles, CA) www.dzguitars.com
Posted on July 1, 2024July 9, 2024 by Dale Phillips Questions: Spraying Lacquer in Garage Questions: Spraying Lacquer in Garage by Jeff Jewitt Originally published in American Lutherie #101, 2010 MR in Portland, Oregon asks: Anyone have suggestions for spraying lacquer in a small one-car garage? Do you really need an explosion-proof fan? I do have an unfinished bathroom in my basement, and it has a cheap exhaust fan. Jeff Jewitt from Homestead Finishing Products in Cleveland, Ohio responds: I definitely suggest a garage over a basement for spraying solvent lacquer. A basement is very hard to exhaust properly and most basements don’t have a large enough window for the fan necessary for flammable products. In addition, the residual odor from lacquer will be more noticeable in a basement than a garage. 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 July 1, 2024July 9, 2024 by Dale Phillips Violin Q&A, Part Three Violin Q & A, Part Three by Michael Darnton Originally published in American Lutherie #25–#33, 1991–1993 and Big Red Book of American Lutherie Volume Three, 2004 What can you tell me about the violin in these pictures? When I look at these pictures I see several things: ▶ The outline of the back has high shoulders and is pointed under the button. ▶ The upper corner blocks are missing; the lower ones are fakes. ▶ The grain of the top converges strongly towards the ends of the top and the upper block does not fit against the top. ▶ The insides of the ribs are marked with tracks from a circular saw used to resaw them out of solid wood. ▶ The neck has been held on with a screw through the top block. ▶ There is an idiosyncratic bass bar. 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.
