Posted on November 19, 2019May 23, 2025 by Dale Phillips What You Should Know About The Hardanger Fiddle What You Should Know About The Hardanger Fiddle by David Golber Previously published in American Lutherie #36, 1993 and The Big Red Book of American Lutherie, Volume Three, 2004 Someone has walked into your shop with yet another weird instrument. This time, it’s sort of like a violin, but it has a whole lot of pegs, the top is carved funny, it has pearl and bone inlay, and it’s decorated with flowery drawings. He says his grandfather brought it from Norway in 1890, and he wants you to put it in playing condition. Well, it’s a Hardanger fiddle (hardingfele in Norwegian). The instrument originated in the area around the Hardanger fjord, whence its name. It is distinctly Norwegian; in fact, it is played in only about a quarter of Norway, the western and south-central areas. The oldest instrument found has a date of 1651. The musical tradition is still very much alive, and continues unbroken up to the present. Beginning in about 1850, there was an absolutely enormous emigration from Norway to America — something like a third of the population. Those who played fiddle of course brought their fiddles with them. In addition there were tours by professional players who performed for their emigrated countrymen and then returned to Norway. But the instrument and the music died out in America. The children of the immigrants rarely learned to play, and father’s fiddle lay in its case in the attic, or was hung on the wall like an icon of a lost era. Now there is something like a revival here in America, not only among the descendants of the immigrants, but also among those not of Norwegian ancestry who have discovered the music. 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 January 16, 2010June 9, 2025 by Dale Phillips In Memoriam: Jim Mouradian In Memoriam: Jim Mouradian April 2, 1950 – January 24, 2017 by R.M. Mottola Originally published in American Lutherie #130, 2017 Boston area luthier and repairman Jim Mouradian died on January 14, 2017, at the age of sixty-six. With his son Jon, Jim ran the largest guitar repair shop in the New England area. He was also an electric bass player and played for a long time in the R&B band, Ronnie Earle and the Broadcasters. Jim was a masterful repairman who brought the same level of precision and care whether working on the instruments of famous professionals or beginning guitarists. He was probably the most happy and content guy I have ever met. He expressed gratitude daily that he got to do work that he loved for a living, and that he got to work beside his son. His list of clients and list of dear friends were one and the same. He was generous to a fault, particularly with his time. I met him before I had any connection with lutherie. I had brought him a cheap electric bass in need of a part. We talked for a long time — about the bass, people we knew in common, and about hot rods (Jim was an avid fan of muscle cars from the 1960s). Then he rummaged around in a parts box, pulled out the part needed to fix my bass, handed it to me, made sure I understood that he was confident that I could do the repair myself, and sent me on my way, no charge. His death brought forward dozens of similar stories of his generosity. His rates were more than reasonable and he regularly lowered them substantially for folks with limited ability to pay. Photo courtesy of Jon Mouradian In addition to repair work, Jim built a couple of different lines of solidbody electric basses. He got into lutherie in what he has described as “backwards.” His very first lutherie project was a custom electric bass for Chris Squire of the band Yes. This instrument is played in the band’s Owner of a Lonely Heart video. I personally owe Jim a great debt of gratitude for having gotten me started in lutherie. From his initial suggestion that I build an instrument, through his continued advice and guidance and encouragement, he gave me a focus and a purpose at a time of great need in my life. I miss him terribly.
Posted on January 14, 2010May 28, 2025 by Dale Phillips Review: The Setup and Repair of the Double Bass for Optimum Sound by Chuck Traeger Review: The Setup and Repair of the Double Bass for Optimum Sound by Chuck Traeger Reviewed by James Condino Originally published in American Lutherie #84, 2005 and Big Red Book of American Lutherie Volume Five, 2008 The Setup and Repair of the Double Bass for Optimum Sound Chuck Traeger with David Brownell and William Merchant Henry Strobel ISBN 1-892210-06-1 www.henrystrobel.com Every once in a while a book comes along in a particular field that sets a new standard for future titles to strive for. Chuck Traeger’s The Setup and Repair of the Double Bass for Optimum Sound is one of those gems. As a regular gigging double-bass player and luthier, I have been waiting for this text since I first picked up the instrument. Failed neck joints, broken scrolls, huge moisture cracks, and the general wear and tear of dragging around a very fragile refrigerator-sized item are part of daily life for the bass player and repairman. Chuck Traeger, who is referred to as “the Mercedes-Benz of (bass) repairmen” by his longtime friend and customer Ron Carter, didn’t come upon this overnight. He made his first professional jazz recordings in 1945 and played the double bass for over twenty years prior to becoming a repairman who specializes in the bass. His customer base and writing cover both the jazz and classical sides of the instrument. Chuck is a trained civil engineer from Columbia University. As such, his approach is that “there is a reason for everything. I want people to think in a different way about... the instrument, its repair, and setup.” To him it is a specialized art. 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 January 11, 2010May 28, 2025 by Dale Phillips Review: Shoptalk 5 by Todd Sams, Don MacRostie, Dan Erlewine Review: Shoptalk 5 by Todd Sams, Don MacRostie, Dan Erlewine Reviewed by John Calkin Originally published in American Lutherie #59, 1999 and Big Red Book of American Lutherie Volume Five, 2008 Video: Shoptalk 5 Todd Sams, Don MacRostie, Dan Erlewine Stewart-MacDonald At the ’99 Merlefest in North Carolina I had the good fortune to find myself manning a booth next to Stew-Mac. It was a pleasure to meet Todd Sams and get to know Jay Hostetler better. It was also astonishing to hear so many self-proclaimed luthiers confess that they had never heard of Stewart-MacDonald. Where do these luthiers buy their tools? My guess is that they aren’t buying them at all, that what they can’t find at Ace Hardware or cobble together in the shop they are doing without; that they don’t even know about the tools that could make their work better and their lives easier. 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 January 11, 2010May 19, 2025 by Dale Phillips Letter: Cleaning/Polishing of Violins Letter: Cleaning/Polishing of Violins by William T. Walls Originally published in American Lutherie #12, 1987 and Big Red Book of American Lutherie Volume One, 2000 Dear Guild Members, Reference is made to George Manno’s “Violin Q&A” regarding cleaning and polishing violins. I have been making, repairing, and restoring bowed instruments professionally for over fifty years and would like to offer my 2¢ worth. I strongly recommend that xylene and similar products for cleaning caked-on rosin be used with extreme caution, as some varnishes will dissolve or become tacky when wet with them. Test them in a small place in an area that will not be noticed if the varnish is susceptible to damage. If it appears that xylene is safe, rubbing with a cloth may require a lot of rubbing, and a lot of rubbing may damage the varnish. I have found the following to be completely safe, effective, and fast for any instrument regardless of how bad the rosin build-up is. 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.