Posted on January 13, 2025May 14, 2025 by Dale Phillips Meet the Makers: Sue and Ray Mooers of Dusty Strings Meet the Makers: Sue and Ray Mooers of Dusty Strings by Jonathon Peterson Originally published in American Lutherie #77, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Over the past two decades, Ray and Sue Mooers’ company, Dusty Strings, has become a major player in the folk-music scene in the Pacific Northwest and beyond. Their urban-basement store in Seattle has become a regional hub, not only supplying musical tools to beginner and expert alike, but serving as a meeting place for musicians; a place for folk-music aficionados to get information about concerts, festivals, and regional events. Their enthusiasm is infectious, and their expertise, inventory, and reputation has grown over the years. They have probably built and sold more hammered dulcimers than anyone, anywhere, and they have recently moved their folk-harp and hammered dulcimer production into a new, thoroughly modern facility not far from their retail store. I spent an afternoon talking with them and walking through the plant, and was massively impressed not only by the scale and sophistication of what they are doing, but by the two of them. They are warm, welcoming, and down to earth, and they have wonderfully clear and direct attitudes toward their lives and their business. After all these years they are still in love, and despite big changes in the scale of their enterprise and the incumbent responsibilities, they still seem to be having fun. 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 13, 2024May 6, 2025 by Dale Phillips Experimental Violin Acoustics Experimental Violin Acoustics by George Bissinger from his 1984 GAL Convention lecture Originally published in American Lutherie #7, 1986 and Big Red Book of American Lutherie Volume One, 2000 It was a pleasure to discuss the “secrets” of violins at the kind of meeting that would scarcely have seemed possible in the time of the legendary Cremonese luthiers. As a member of the Catgut Acoustical Society, which is devoted to all aspects of bowed string instruments from the raw materials (gut?) to the finished product (cat?) and its sound (meow?), I can only welcome this shared discussion. The Society has sponsored the construction of a family of eight violins covering the frequency range of 41Hz to 1318Hz (lowest to highest open string), and has a demonstrated interest in all violin matters whether they are purely practical, subjective, and aesthetic, or purely abstract, objective, and quantitative. The talk I gave at this GAL meeting covered a range of topics concerning violins in which I personally have been involved. These topics leaned rather more to the concrete aspects of violin making such as working with student instruments, testing plates of unassembled (or humidity disassembled) instruments, plate archings, bassbar tuning, and humidity effects, but also included discussion of coupling between enclosed air oscillations and plate vibrations in the assembled instrument. 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, 2022May 28, 2025 by Dale Phillips Questions: Quartersawn Wood Questions: Quartersawn Wood by Alan Ollivant Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 John Forcade of Poulsbo, Washington asks: I have acquired six large maple rounds and would like to quartersaw them and let them dry out for a few years. They are about 45" long and 3' in diameter. I am not an experienced woodworker so I am looking for some specific directions on how to quartersaw. I would assume I am going to have to split the rounds into fourths by hand and then cut a board off one face, then cut the next board off the opposite face until each quarter is completely cut? Am I on the right track? Also, once I split each round open, how can I determine the quality of the maple? Am I going to be primarily looking for figure? If the wood is good and I keep it, how long should I let it dry before using it? Should it be kept in a controlled environment from day one? I also have some koa from the big island. What differentiates quality koa from average koa? 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, 2022May 28, 2025 by Dale Phillips Questions: Ebony Tailpiece Cracks Questions: Ebony Tailpiece Cracks by Ted Megas Originally published in American Lutherie #73, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Susan from cyberspace asks: I have a new custom-made archtop and the ebony tailpiece has developed a few very thin/small cracks. Should I use lemon oil on it? I have a humidifier in the room, but it seems impossible to keep the humidity at a constant level. Ted Megas of Portland, Oregon responds: I would be concerned that the structure of the tailpiece is undermined. A cracked tailpiece is potentially a very dangerous situation, since it’s under a lot of tension. I’ve even heard of tailpieces exploding. Lemon oil will neither fix the cracks nor prevent further cracking. You need to be in touch with the maker of the guitar or a reputable repairperson. 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 December 27, 2020May 21, 2025 by Dale Phillips Moisture Content Moisture Content by Gregory Jackson Originally published as Guild of American Luthiers Data Sheet #296, 1984 and Lutherie Woods and Steel String Guitars, 1997 Equilibrium moisture content (EMC) is the point at which wood is not losing or gaining moisture. This occurs when the wood is in balance with its environment. Since the environment changes from day to day, the EMC normally considered is the average EMC. It is very important to understand that this is a delicate balance between the wood and the environment. EMC is not a universal moisture content (MC) for all conditions. As conditions change, the EMC will also change. The water has a tendency to leave the wood and become airborne moisture, just as does the water in clothes hung out to dry. At the same time the wood has an attraction to water and will tend to absorb any available moisture. Water spilled on unfinished lumber can be observed to soak into the wood. The water in humid air, while not so obvious, is also available to the wood and will sometimes be drawn into the lumber. The two forces — 1) for water to be drawn into the air; 2) for water to be drawn into the wood — are opposing forces. The net effect is to create a balance which is called an equilibrium. Equilibrium is affected by both humidity and by temperature. As the humidity in the air is increased the wood will gain moisture. If the humidity is lowered the wood will give up water to the air. Higher temperatures will force water into the air while lower temperatures will let the wood gain moisture. 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.
