Posted on November 30, 2024May 30, 2025 by Dale Phillips 1902 Martin 1902 Martin by Anonymous Originally published as Guild of American Luthiers Data Sheet #21, 1975 This pair of informative pictures was contributed to the Guild by repairman of long experience and excellent reputation. He wishes to remain anonymous, however, to avoid being hounded by collectors. Just below and to the right of the soundhole (back view) the date, initials of the luthier, and serial number have been written in pencil. Of these, only the serial number is decipherable: #9434. Noting the lack of a 17th fret marker, the instrument appears to be a 1902 0-41 or 42. The bridge and saddle are both ivory and, typically of the period, provide no string length compensation. This particular bridge has suffered the disgrace of having been bolted to the top with flathead bolts as part of an astonishingly shoddy repair. (Note the additional “reinforcement” plate, back view). The diamond between the second belly brace is original equipment, however. This feature is still to be found on modern 0 16 NY models. This guitar has been completely restored, and we hope that it’s next 72 years are less prone to abuse. ◆
Posted on July 7, 2024May 15, 2025 by Dale Phillips Questions: Charango Plans Questions: Charango Plans by C.F. Casey Originally published in American Lutherie #104, 2010 Gerald Mercer from Angels Camp, California asks: I am looking for plans for a South American charango. These are often 10-string, 5-course instruments and made using the shells of armadillos. C.F. Casey from Winnipeg Beach, Canada answers: The website below will get you going on building a charango. The title calls it a ronroco, but it’s the same thing. They even use the two terms interchangeably in the site. http://jlfeijooi.en.eresmas.com/Construccion_de_un_ronroco.htm Here we’re dealing with a charango that’s carved out of solid wood, rather than using an armadillo shell for the bowl. Most charangos I’ve seen lately have been the carved variety, and the last few times I’ve visited my friendly neighborhood wood-pusher, they’ve been fresh out of armadillos. The site is in Spanish, but Google’s translation is no more horrible than such things usually are. In any case, the sketches have the main dimensions, which is the most important thing. ◆
Posted on July 5, 2024May 15, 2025 by Dale Phillips Two Tuvan Instruments Two Tuvan Instruments by Thomas Johnson Originally published in American Lutherie #98, 2009 Originally, the igil and morin khuur (also spelled morin huur) were made by nomadic people with rudimentary tools. Instrument making in Tuva remains a cottage industry, and the master makers have mostly died off without leaving a trained younger generation. It can be difficult to find wood big enough for Tuvan instruments, and it is becoming common practice to build up the piece by gluing extra bits on. For example, the height of the horse’s head above the fingerboard of an igil is enough to significantly increase the block of wood required. A maker can easily use a smaller block and, using a piece cut from it, add to the height by gluing it to the top. As the wood is from the same block, it can be fairly invisible. This is also possible for the soundbox and the fingerboard; two equal-sized cheeks can be added to either side to enable the correct dimension to be achieved. 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 July 4, 2024May 22, 2025 by Dale Phillips Questions: Instrument Plan #36 Questions: Instrument Plan #36 by Scot Tremblay Originally published in American Lutherie #101, 2010 Bob Barnard from Olympia, Washington asks: I just finished making a copy of the 1816 Martínez Salon Guitar from GAL Instrument Plan #36. I strung it up with Aquila Alabastro classical guitar strings (normal tension) to pitch (A440). It was overpowered and did not have the right tone or response. I lowered the pitch a whole step and it improved substantially, leading me to think the string tension is too high. Any suggestions on appropriate string tension for this wonderful little guitar? Plan author Scot Tremblay from Victoria BC responds: My preference in strings for most smaller Early Romantic guitars, including the Martínez, is the La Bella ERG #1 or the La Bella 2001L Light Tension strings. I think it’s best to keep the tension to 5.5–6.5KG/string. Because of the 614MM string length of the Martínez you are going to get closer to 5KG/string which should be fine.
Posted on July 1, 2024May 22, 2025 by Dale Phillips Questions: Instrument Plan #39 Questions: Instrument Plan #39 by Deb Suran Originally published in American Lutherie #101, 2010 Remco Busink from the Netherlands asks: Two months ago I ordered GAL Instrument Plan #39 of the hammered dulcimer. The instrument is almost finished and I need to know what the numbers are in the string gauge table. Plan author Deb Suran of Deer Isle, Maine responds: The numbers are W&M music wire gauges. I would suggest purchasing plated music wire from a supplier to the music trades (piano / harpsichord / dulcimer strings), and not from a hardware store or industrial supplier. Hardware store wire is oiled, not plated, and will rust.
