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Review: Making Stringed Instruments — A Workshop Guide by George Buchanan

Review: Making Stringed Instruments — A Workshop Guide by George Buchanan

Reviewed by C.F. Casey

Originally published in American Lutherie #26, 1991 and Big Red Book of American Lutherie Volume Three, 2004



Making Stringed Instruments — A Workshop Guide
George Buchanan
Sterling Publishing Co., 205 pp.
ISBN 0-8069-7464-8

You don’t have to look at the publishing information to know this is a British book. You don’t even have to depend on the usual vocabulary clues. In fact, they’re not even all here. The book uses “clamps” rather than the dead-giveaway “cramps,” although it does refer to “timber” rather than “lumber.” It’s the style, that unmistakable tone typical of English do-it-yourself books: not exactly formal, not exactly old-fashioned (in fact, the book was first published in 1989), but just subtly different in flavor from its North American counterparts.

It’s more than just diction and syntax that make this book different, it’s the approach to the material. As the title suggests, the book is about a variety of instruments: violin, viola, and cello; mandolin and mandola; and classical and archtop guitars. However, rather than treating each instrument more or less independently, as most books of this type seem to do, Buchanan spends fully half the book dealing with the violin and viola, and then adds comparatively short chapters covering those aspects of the other instruments which are different from the violin. He does spend somewhat more time on the mandolin and mandola, as the first flat-top-and-back instruments in the book.

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Review: Guitars and Mandolins in America Featuring the Larsons’ Creations by Robert Carl Hartman

Review: Guitars and Mandolins in America Featuring the Larsons’ Creations by Robert Carl Hartman

Reviewed by John Bromka

Originally published in American Lutherie #2, 1985 and Big Red Book of American Lutherie Volume One, 2000



Guitars and Mandolins in America Featuring the Larsons’ Creations
Robert Carl Hartman
Maurer & Co., 1984
$39.95 from amazon.com (1999)

Every fine luthier of creative and abundant output should be so lucky as to have a memory book devoted to preserving his art and times. Robert Carl Hartman has done a thorough job of this for his grandfather Carl Larson and Carl’s brother August, who together maintained a lutherie business from the 1880s to 1944. A great portion of the Larsons’ output was built to order to receive the manufacturers’ and distributors’ labels of Maurer, Prairie State, Dyer, and Stahl. If you are not yet familiar with the Larson brothers or their instruments (am I too far east of Midwest?), you’re in for a treat.

The Larsons built beautiful and highly original instruments, and a large sample of designs are given here among the book’s 150 photographs and drawings. Included are mandolins, mandolas, mandocello and bass, flattop and archtop guitars, acoustic bass guitar, and harp mandolins and guitars. A chart of measurements is given with each instrument. Reprints of the guitar patents give very thorough drawings, descriptions, theory, and reasoning behind such innovations as laminated braces, further developed X bracing, through-the-body truss rods, and building under tension. Testimonials from Stefan Grossman, George Gruhn, and Johnny Cash, and a humorous reminiscence from Les Paul give further incentive to look into the Larsons’ designs.

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Review: The Guitar in America, Victorian Era to Jazz Age by Jeffrey J. Noonan

Review: The Guitar in America, Victorian Era to Jazz Age by Jeffrey J. Noonan

Reviewed by Don Overstreet

Originally published in American Lutherie #96, 2008



The Guitar in America, Victorian Era to Jazz Age
Jeffrey J. Noonan
ISBN (hardcover): 139781934110188
University Press of Mississippi, 2008, $50

In the year 2008, say “BMG” and some will think of the mail-order catalog of recordings. In the year 1908, say “BMG” and many in the musical community in America would immediately think of the Banjo, Mandolin, and Guitar movement.

Jeffrey Noonan’s recent publication, (an expansion of a doctoral dissertation and echoing its academic origin), gives us a clear portrait of the life and times of a true social phenomenon that began in the last half of the 19th century and continued into the 1920s, when changing times and tastes caused it to fade away.

We can be thankful to Mr. Noonan for adding this book to the list of efforts published in recent years by writers such as Philip Gura and James Bollman, whose studies of the banjo and the life and times of C.F. Martin, Sr. have become standard references, not only for their overviews of the instruments themselves but also for illuminating the social environment in which the music became so popular. The important figures of the era are identified and given biographies while we learn about the amazing process of the creation and marketing of the instruments.

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Review: The Mandolin Project by Graham McDonald

Review: The Mandolin Project by Graham McDonald

Reviewed by John Calkin

Originally published in American Lutherie #97, 2009



The Mandolin Project
Graham McDonald
ISBN (paperback): 9780980476200
Graham McDonald Stringed Inst., 2008, $37.50

It’s funny how the cover of a book can prepare you for what’s inside. The cover of The Mandolin Project is about the same color as a brown paper bag, with type in a darker brown — in other words, nicely plain. It looks like a work book, which put me in a pretty good mood for what was inside. This is serious stuff, the making of instruments. Save the glitz for the useless coffee table books. “Roll up your sleeves and let’s get to work,” the cover says. I like that.

But first, (snore) a little history. Most instrument building books feel compelled to explain the origins of the instrument before the woodwork begins, as if we didn’t know. Much of the time it just seems to pad out the book to help justify a higher price. But McDonald is a cerebral kind of guy with serious intent and he wouldn’t jerk us around like that. The first thirty pages of his manual trace the life of the mandolin using some very nice color graphics and text that you may or may not find interesting, depending on how eager you are to finish your mandolin and finally learn to play “The Rights of Man.” Suffice it to say that if you wish to place yourself amid the human calender as a mandolin builder, the first chapter is for you. If not, well, the photos are so good that I’ll be surprised if you don’t at least find yourself skimming the text for the names that match the pictures. And you know what? There was a lot of information I didn’t already know.

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