Posted on June 13, 2024January 22, 2025 by Dale Phillips Guitar Evaluation at Carmel Guitar Evaluation at Carmel by David Russell Young Originally published in Guild of American Luthiers Quarterly 6, #2, 1978 The success of violin competitions, like the Southern California Association of Violin Makers’ annual event in L.A. at the Musicians’ Union Hall (well over 100 entries) has led me to promote something to the many serious musicians who attend the Carmel Festival, and as impartial as possible with many instruments being compared together, thus providing a good basis for determining the string and weak points of each individual instrument. Long-term benefits would include forging a stronger link between builders and players, and pointing the directions in which the technology needs development. (For example, how much of a premium do professionals put on sheer power for playing in large halls, and how much sacrifice of complexity or warmth would be accepted for the sake of a very loud 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 June 13, 2024January 21, 2025 by Dale Phillips Balalaika Measurements Balalaika Measurements by James H. Flynn, Jr. Originally published in Guild of American Luthiers Data Sheet #284, 1984 The balalaika is a Russian folk musical instrument. It is relatively young, the first mention of it in written sources going back to 1715 (I.I. Golikov, “Supplements to the Works of Peter the Great”, 1792, p. 242). The instrument was perfected in its present form by V.V. Andreyev in the 1880s. The first performance of a “balalaika club” took place in Petersburg (Leningrad) in 1888. Since then, the instrument became extremely popular and remains so in the Soviet period. Today, balalaikas are common in five sizes as follows: prima, secunda, alto, bass and contra-bass. Figure 1 shows the musical range of these instruments. Figure 2 illustrates the conventional shape of the balalaika and identifies its componnets. Figure 3 provides the side and end profiles of the instrument. Essential dimensions for all sizes of the instrument are shown in Table 1. 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, 2024January 22, 2025 by Dale Phillips Octet 2005: First Convention of the New Violin Family Association Octet 2005: First Convention of the New Violin Family Association by Alan Carruth Originally published in American Lutherie #85, 2006 The New Violin Family, also known as the Violin Octet, began more that fifty years ago with a request by composer Henry Brandt to Carleen Hutchins for instruments with the timbre of the violin in other tuning ranges. It has continued to be a collaborative effort between luthiers, scientists, composers, and musicians. The first convention of the New Violin Family Association was intended to extend that collaboration into new generations. The meeting was smaller than a GAL Convention, and this proved to be a plus. Many participants were already acquainted, and the rest soon got to know each other informally. Convention organizing committee chair and NVFA newsletter editor Robert Spear, along with the other organizers, provided ample opportunities for musicians, builders, and “techies” to get together. A good example was a comparison of Octet instruments with their conventional counterparts, where musicians offered critiques of the new 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 June 13, 2024January 22, 2025 by Dale Phillips Quick Cuts: The “Wintonbeast” 7-String Lap Steel Guitar Quick Cuts: The “Wintonbeast” 7-String Lap Steel Guitar by David Worthy Originally published in American Lutherie #87, 2006 I don't know how the more unusual projects get off the ground for most people, but I vaguely remember a campfire beside the Guinness tent at the Fairbridge Folk Festival (about an hour’s drive south of Perth in Western Australia), and the usual guitar-head beer-talk that naturally ensues. Somehow eighteen months later I sent Andrew Winton a drawing with (almost) every silly idea I could think of for him to consider — and to my surprise he said, “Yeah, looks great!” So I built it. Andrew lives in Perth. I live in Melbourne, 2500 miles away. The brief proposed seven strings, the word “orchestral” was in there, and “piano,” and, of course, “lap steel.” Andrew’s final preferred tuning was A a E a e a´ b´. String gauges run (low to high) .082", .045", .056", .045", .032", .017", and .017". The first six strings have a 27" scale; the 7th has a 36" scale. The top is western red cedar; the back and sides are Australian blackwood, as is the neck. It is bound in curly maple, and all the black is ebony. It was built in the Spanish style and required a few little inventions on the way. 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, 2024January 22, 2025 by Dale Phillips Fourth International Puerto Rican Tiple Conference Fourth International Puerto Rican Tiple Conference by C.F. Casey Originally published in American Lutherie #86, 2006 What am I doing here? I’ve never been a speaker at an international conference before! And it’s not in my native language! These thoughts raced through my head on the evening of February 11, 2006, as I sat at a long table in a restaurant in Mayagüez, Puerto Rico. Others present were my wife, singer-songwriter Kate Ferris; Tiple Conference founder José “Pepito” Reyes; and two dozen other Tiple Movement officials, conference organizers, speakers, and spouses. It was the pre-conference supper. It all started a year earlier, when American Lutherie editor Tim Olsen asked me to review a couple of books, one of which was in Spanish. As I had spent four years studying music in Mexico and still have a great love for the language, I was delighted. The book was El Tiple Puertorriqueño (see review in AL#81). In the course of writing the review, I needed the answers to a couple of questions and contacted author Pepito Reyes by phone. Thus began a correspondence that led to his inviting me to be a guest speaker at the Conference. 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.
