Posted on October 10, 2025October 10, 2025 by Dale Phillips Binding F-5 Mandolins Binding F-5 Mandolins by Andrew Mowry Originally published in American Lutherie #113, 2013 The scrolls and points on F-5 mandolins present a number of special challenges during all stages of construction. Binding in particular can be difficult. Fortunately celluloid, which is the most common binding material on F-5s, is a wonderfully forgiving material (with the exception of occasionally bursting into flame without warning). I haven’t seen a detailed tutorial in print, so I thought I would present here the techniques that I use. I’ve learned many of these from other builders over the past few decades, and to them I’m greatly indebted. I’m sure there are other, possibly better, methods as well, and I’d certainly love to hear about them. Perhaps this article can serve as an impetus for further discussion. There are several common problems that occur with celluloid binding (some with binding in general), and in the course of this article I touch upon techniques for preventing those. These problems are: miters that don’t meet properly; gaps between the binding and the wood; black purfling lines that bleed into the white binding; binding that ends up being sanded too thin; and kinks in the bends. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 10, 2025October 10, 2025 by Dale Phillips A Savart-Style Upright Bass A Savart-Style Upright Bass Constructing a Simple 34" Scale Upright Bass Suitable for Bass Guitarists by R.M. Mottola Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Regular experimentation on my part is directed toward the goal of producing the sound of the double bass from instruments that can be readily played by the bass guitarist. Many approaches are possible and the instrument described here is the result of one of these. The design process began with functional requirements for the bass. This list was pretty basic. The target group of musicians was bass guitarists, and this constrained the scale length and a number of the critical dimensions of the neck and fingerboard to be similar to those of bass guitars. The instrument had to be musically viable in all styles in which the double bass is played pizzicato. It had to be transportable too, an easy design goal given the standard for portability set by the unwieldy double bass. To that list I added one more requirement — that the prototype be relatively simple and cheap to build. The bass is just like any other instrument, only more so. Material cost is higher because there is more material. Construction time is greater because there is simply more to construct. The upshot is that a bass design experiment can consume a lot of time, effort, and money before the success or failure of the experiment is known. I wanted to keep both cost and effort down for the prototype. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 9, 2025October 9, 2025 by Dale Phillips The Bassola The Bassola Approximating the Sound of the Upright Bass by R.M. Mottola Originally published in American Lutherie #64, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Clearly the best way to get the sound of an upright bass played pizzicato is with an upright bass. But that instrument poses a number of problems to bass guitarists and even to upright players — the former can’t play the instrument, and the latter often simply hate having to carry the thing around. Experiments toward approximating the sound of the upright in an instrument playable by bass guitarists constitute something of an ongoing project for me. This article describes one such effort, a large (for a guitar) acoustic instrument I call a Bassola, for no other reason than that it rhymes nicely with my last name. The project began with listing the functional specifications for the instrument. When engineering a new instrument (or anything that represents more than a trivial departure from some existing and well-specified entity, for that matter) I find it very useful to have a target to shoot at. This makes it easier to plan and deal with the design tradeoffs that inevitably occur, plus it provides some criteria against which to judge the finished product. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 9, 2025October 9, 2025 by Dale Phillips Clark Irish Harp Revisited Clark Irish Harp Revisited by Craig Pierpont Originally published in American Lutherie #64, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Following David Riggs’ article on the Clark Irish harp (“Clark ‘Neo-Irish’ Harp”), it seems like a good opportunity to take a closer look at folk harps from the luthier’s point of view. As a professional harp builder of some experience, I have learned my trade in no small part by studying the construction theory of fingerboard instruments of the lute, guitar, and violin families. While there is much relevant information there, it is important to consider the enormous fundamental differences between the dynamics of fingerboard instruments and harps. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 9, 2025October 9, 2025 by Dale Phillips An Authentic Hurdy-Gurdy An Authentic Hurdy-Gurdy by Wilfried Ulrich Originally published in American Lutherie #77, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 The dispute between guitarists and hurdy-gurdists is an old one. In the early 1700s, when French aristocrats became interested in playing the hurdy-gurdy and pretty good composers such as Baton, Chedeville, and others began to compose for it, prominent guitarists contended that the hurdy-gurdy was only good enough for cat music! However, the queen was an eminent player of the instrument, and the two daughters of King Louis XV were trained by Charles Baton. A hurdy-gurdy teacher of the time is said to have wanted to change the outstanding and worthy guitar of a marquis into a hurdy-gurdy. In his opinion, this was the only fit use for such an instrument. The hurdy-gurdy and the musette (a small bagpipe) were the beloved instruments of the leading society. To dignify the instrument, its origin was attributed — without proof — to ancient Greece. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
