Posted on January 14, 2010May 28, 2025 by Dale Phillips Review: El Tiple Puertorrqueño: Historia, Manual y Método by José Reyes-Zamora Review: El Tiple Puertorrqueño: Historia, Manual y Método by José Reyes-Zamora Reviewed by Fred Casey Originally published in American Lutherie #81, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 El Tiple Puertorriqueño: Historia, Manual y Método José Reyes-Zamora ISBN: 0-942347-55-2 Ediciones Puerto, Inc., 211pp., 2002 www.edicionespuerto.com The tiple. Oh, yeah, that’s that South American instrument, like a guitar but triple-strung. I remember repairing one that had a soundbox made from an armadillo shell, like a charango. Then there was the adaptation that Martin came up with, putting tiple-type stringing onto a ukulele (see article and plan by Jorge Gonzalez in AL #39, BRBAL4). And one time I came across an old bowl-back mandolin that had twelve strings, arranged tiple-fashion. Yeah... the tiple. Forget all that. 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 January 13, 2010May 20, 2025 by Dale Phillips Letter: Hardingfele Letter: Hardingfele by Loretta Kelley Originally published in American Lutherie #8, 1986 Dear Editor: In connection with Hardingfele: People who are interested in this instrument might want to become members of the Hardanger Fiddle Association of America (126 S. Thayer Avenue, Sparta, WI 54656) Members receive a quarterly newsletter containing not only informative articles, but sources for instruments and supplies. The book on making this instrument is “Vi Byggjer Hardingfeler”, by Sverre Sandvik, published by Tiden Norsk Forlag, Oslo, 1983, ISBN 82-10-02357-8 (in Norwegian). Irving Sloan writes about making a hardingfele in “Making Musical Instruments”, Dutton, 1978, ISBN 0-87690-293-X. He is interesting, although his guess that the f-holes are bent instead of carved is wrong, and some of his other assertions are just assertions. Some additions to Mr. Peters’ articles: neither of my fiddles have purfling, and I’m not sure I’ve ever seen one with purfling, except converted violins. The traditional carving on the top is usually described as a dragon or perhaps a lion. And many hardingfeles have five sympathetic strings instead of four.
Posted on January 11, 2010May 13, 2025 by Dale Phillips In Memoriam: Robbie Robinson In Memoriam: Robbie Robinson Passed on June 7, 1993 by Betty Truitt, and Ray Mooers Originally published in American Lutherie #35, 1993 and Big Red Book of American Lutherie Volume Three, 2004 Roland Robinson died June 7, 1993, in a traffic accident near his home and shop in Mt. Laguna, California. He founded the International Society of Folk Harpers and Craftsmen one day with these words: “I decree that there shall be a folk harp society, and that the Folk Harp Journal shall be it’s voice.” That was how it happened. Details followed. Rob was my friend, my mentor, my “second father,” my next-door neighbor. He influenced my work and my life with his hard-working, dedicated example. Rob was a renaissance man, a poet, a mover of ideas, a facilitator and educator, a warm human being. One news article aptly described him as an “irascible curmudgeon.” He was as likely to give you a lecture on proper use of time for production as he was to expound on his knowledge and experiences for hours on end. He constantly searched for understanding of our world. He delved deeply into history and concerned himself with daily news of world events. He wrote his customers many personal messages, sent along with their filled orders. He encouraged us all. He was a prime mover in the resurgence of the folk harp. He shared, never taking “ownership” of ideas or inventions. His genius was always turned outward to better his (and our) world. — Betty Truitt Robbie Robinson at the 1980 GAL Convention in San Francisco. Photo by Dale Korsmo. I founded Dusty Strings in the late 1970s, crafting hammered dulcimers. I became fascinated by folk harps in the early ’80s and devoured back issues of the Folk Harp Journal, which I ordered from Robinson’s Harp Shop. I became aware that in addition to building harps, Robbie also supplied those mysterious bits of steel, brass, and nylon that go into making harps. Robbie was bigger than life to me, a storehouse of knowledge of a little-understood craft. He could have guarded that knowledge for personal gain. God only knows how hard he worked for it, but he was a man of vision and knew that he could not supply harps to all that would like to own one. He had experienced first hand what the harp had done for his life and Phyllis’, and wanted to share that feeling with the world. I had an insatiable hunger for inspiration, so I timidly called to see if I might possibly stop by for a quick visit while on a trip to California. When he graciously agreed to see me I was thrilled. I had talked to Robbie Robinson on the phone and I was going to visit him! I felt like a pilgrim on a journey to Mecca. Robbie and Phyllis welcomed me into their home and shared the inner workings of Robinson’s Harp Shop. He showed me how tuning pins and sharping levers are made, critiqued my harp, and complimented several of my design features. Day faded into evening and I found myself at their dinner table. I excitedly accepted an offer to stay overnight and really was in harp heaven as I lay on the living room couch. I tried to sleep, but my head was spinning with all I had learned. The next day was business as usual: up at 6:30, a quick breakfast, then downstairs to the shop. There were pegs to be made, strings to be wound, supplies to order. Phyllis had the arduous, though exciting, task of opening the stacks of mail that came each day. And Robbie, with all he had going, took time to show me how to wind strings. He ordered me to try my hand at it so I wouldn’t forget how, and invited me to take lots of pictures so I could construct my own winding machine. As I drove away from Mount Laguna, I had to pull off the road somewhere down the mountain. The late afternoon sun was casting long shadows behind the pines, and the colors of the mountains, trees, and countryside were magnificent. I was so excited I thought I might burst. To you, Robbie, I was just another of the many who sought out your influence and knowledge. You graciously opened your door to many, I’m certain. But it was as if I had been taken briefly under your wing and offered the greatest gifts of all: knowledge, and encouragement to go on. The sun grew into an enormous fireball as it reached for the horizon, changing the colors of the landscape and sky from yellows, to oranges, to pinks, to lavenders, to purples. As the sun slipped away I continued down the mountain with your voice ringing in my ears, “You can do it Ray. The world needs more harp makers.” Robbie, that visit with you and Phyllis, and other visits since, are times I will never forget. Times that helped shape a career and a business that will contribute to your goal of making the world a better place to live by enriching people’s lives with harp music. You are a great man, Robbie, and though we all will sincerely miss you, you will always be with us in our hearts. You will have a special place in mine for the remainder of my days. — Ray Mooers
Posted on January 11, 2010May 29, 2025 by Dale Phillips Kit Review: Musicmaker’s Hurdy-Gurdy Kit Review: Musicmaker's Hurdy-Gurdy Reviewed by John Calkin Originally published in American Lutherie #66, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Hurdy-Gurdy from Musicmaker’s Kits Imagine the following scene played out in some Medieval dialect. The inventor of the hurdy-gurdy proudly shows his new gizmo to his wife. She puzzles over it for a moment. “What’s this, Joachim? Another Noah’s Ark toy?” “No, Lambchop, it’s a mechanical fiddle. It makes music.” “Hah! Good one! No, really. What the hell is it?” 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 January 11, 2010May 27, 2025 by Dale Phillips Review: Tambura by Dusan Brankov Review: Tambura by Dusan Brankov Reviewed by John Calkin Originally published in American Lutherie #57, 1999 and Big Red Book of American Lutherie Volume Five, 2008 Tambura Dusan Brankov Tamburitza Association of America, 1998 ASIN B0006FDGZK The tambura is a Yugoslavian version of the guitar featuring four courses (the first string is doubled), a Fender-style headstock, a floating bridge, and an oversize pickguard inlaid into the top. Back and top are ladder braced. This only describes the middle member of the tambura family; the smallest tambura has a body carved from a solid board and a much smaller scale, and the two largest members have cello-like scroll heads. I gather that tambura makers in eastern Europe have always taken an individual approach to the size, shape, and construction. Brankov’s mission is to garner international recognition and respect for the instruments he loves, and to standardize them as much as the violin family has been standardized. He doesn’t anticipate the first happening without the second. Only time will tell if he is successful. Brankov’s book is a good one. Anyone wishing to build tambura should find all the information they need here. Instruction is put forth in a formal and reasonable manner. There is a lot of math for those who wish to study it, along with a good dose of scientific theory about the way stringed instruments function. This scholarly approach is no doubt part of the quest for international status for the tambura. 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.