Posted on August 11, 2021May 19, 2025 by Dale Phillips Electric Violins: The New Frontier Electric Violins: The New Frontier by George Manno Originally published in American Lutherie #12, 1987 In the past, my contributions to this journal have been of the more traditional subject matter. From repairing cracks to varnish recipes, I lend my knowledge of the violin to all our readers. Although this article is not about the traditional violin, I have the same enthusiasm to share the following information with you. Twenty years ago, electrifying a violin was a simple matter of attaching a DeArmond pickup clamp to the tailpiece and plugging the cord into an amplifier. Not much attention was given to the quality of sound that came out of the speaker. Players were more concerned that the violin could be heard over the drums and other electric instruments. 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 11, 2021May 19, 2025 by Dale Phillips The Sami-Sen The Sami-Sen by Nicholas Von Robison Originally published in American Lutherie #12, 1987 and Big Red Book of American Lutherie Volume One, 2000 The Sami-Sen (pronounced and sometimes spelled “shamisen”) is one of the trinity of Japan’s important musical instruments, the koto and shakuhachi* being the other two. The equivalent of the Chinese san hsien, this three-stringed lute was originally a solo instrument, played by a wife for her husband, or a lone musician for his or her own enjoyment (and Buddha’s too!). Not until the Edo period (early 17th to mid-19th centuries) was the sami-sen used in <em>gagaku</em> (orchestral) and chamber ensembles. In recent years there has been a revival in the ancient solo literature, many of the solo pieces being conceived of as an aid to meditation. Poetic and descriptive song titles that reflect tone-painting are not uncommon. The drawing was done from an instrument whose equivalent is probably the Volkswagon or the Sears Silvertone. Even though this bottom-of-the-line instrument shows some crudeness (the inside arch to the soundbox sides appears to have been hacked out with an adz), it is still remarkable. The neck joints fit perfectly, and the soundbox wood is a fine-figured, mahogany-like hardwood that is very attractive. Mrs. Richard Ota, a sami-sen teacher and performer, obtained for me strings, bridge, and pegs, and she owns an instrument of similar caliber to mine, plus a really nice instrument. Lacking a fretboard, once the performer’s fingers have put a hollow in the neck from the most used fretting positions after a few years, the neck is useless. For that reason, the serious sami-sen player owns a cheap instrument for practice and a better one reserved for performing. 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 11, 2021May 30, 2025 by Dale Phillips The Acoustical Characteristics of the Concert Cimbalom The Acoustical Characteristics of the Concert Cimbalom by Janos Pap Originally published in American Lutherie #61, 2000 We may be surprised that the sound of the concert cimbalom, or Hungarian hammered dulcimer, is occasionally similar to that of the piano. But we can be sure that it is not a piano, only related to it. The cimbalom produces a little more nasal sound, with a rougher timbre. The acoustical differences derive from the construction of the instrument and the manner of playing. I have devoted much time to making acoustical measurements on concert cimbaloms at the Acoustic Research Laboratory of the Hungarian Academy of Sciences in an anechoic chamber, and on a cimbalom model at the Institute of Musicology at Cologne University, hoping to satisfy my curiosity about the causes and effects of the cimbalom’s sound. In instruments of the hammered dulcimer family, the form is determined by the mode of playing. The player strikes the strings with two hammers. The strings must be divided to give a large range of notes, and the struck parts of the strings must be raised for playability. The string-dividing determines the damping features, and thus the timbre and the decay. The raising of the strings results in high downward force on the bridge, which determines the sound indirectly, by the mode of energy transport and radiation. 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 11, 2021May 20, 2025 by Dale Phillips The Cimbalom The Cimbalom by Alexander I. Eppler Originally published in American Lutherie #5, 1986 and Big Red Book of American Lutherie Volume One, 2000 The cimbalom is by far the most sophisticated and highly-developed instrument of the hammered dulcimer world. It enjoys the status not only from the point of view of musical performance, standards, and practice, but also from that of actual construction and design. The appearance of the instrument is rather grand. Its beautiful carved case stands on four turned legs with a graceful, lyre-shaped pedal. Other than its elegant and compact tuning system (see illustration), what sets the cimbalom apart from all other dulcimers is that it is fitted with a full set of dampers and pedal. The legs and pedal are removable for easy transport, and the instrument also has a lockable cover to protect the strings and dampers when the instrument is not in use. 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 April 7, 2021May 21, 2025 by Dale Phillips Skin Heading Ethnic Drums, Etc. Skin Heading Ethnic Drums, Etc. by Topher Gayle Originally published in American Lutherie #2, 1985 Derbeckis (A.K.A. dumbegs or Arabic tabla) are medium-sized (10" to 18") hand drums used most frequently in Middle-Eastern folk and Belly-Dance music, and also heard in jazz idioms. Two main types of the drum exist: metal bodied drums, usually Turkish, utilizing a mechanical drumhead tensioner much like that on bongos or conga (which drummers frequently want to have replaced by banjo tensioners); and the clay-bodied drums which come in a large variety of sizes and shapes. Wood-bodied drums also exist and may usually be treated as clay (for the most part). Tim Olsen asked if various skin-headed stringed instruments might be treated by this device. I have not done so myself, but I don’t see any serious complications. A radiator hose clamp chain can be used to fix the skin to the side of the body if the body side joins the top at a right angle. I used this technique on a small wooden drum with good results. Blocks were required to raise the body up to the top frame hex, since the drum was so short. The skin was brought up to tension as described below, and then the radiator clamps attached. The assembly was let dry just as is usually done. 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.
