Posted on January 14, 2010March 7, 2024 by Dale Phillips Review: The Century That Shaped the Guitar (From the Birth of the Six-String Guitar to the Death of Tárrega) by James Westbrook Review: The Century That Shaped the Guitar (From the Birth of the Six-String Guitar to the Death of Tárrega) by James Westbrook Reviewed by Bryan Johanson Previously published in American Lutherie #88, 2006 The Century That Shaped the Guitar (From the Birth of the Six-String Guitar to the Death of Tarrega) James Westbrook 2005. 180pp. Available from theguitarmuseum.com. In 1813 the soon-to-be-renowned composer and guitarist Fernando Sor left Spain, never to return. His destination was Paris, in the only country that would have him. After two years of frustration and disappointment he moved to London where he was to finally achieve the success that had eluded him. The large forces that brought Sor to London include his education, his professional training, the many wars in Europe, and taste. Sor was given a liberal education in his native Barcelona. He studied composition, singing, and the newly invented 6-string guitar. With the premiere in 1797 of his opera Telemachus on Calypso’s Isle, Sor became the celebrated wunderkind. But a career in music was not in his immediate future. He had received a military training that seemed unlikely to cause his musical career much trouble. But, Napoleon’s invasion of Spain changed all that. Sor was thrown into active duty. When the French finally conquered Spain, Sor was given the choice of continuing his military career as part of the occupying French army, or joining the Spanish resistance. (The resistance was not doing so well, as documented by the many gruesome paintings by Goya.) Sor chose to continue his military career with the French (bad move). When Napoleon was finally defeated, these Spanish afrancesados were being murdered by the now victorious resistance at an alarming rate. Like many Spaniards in his position, Sor joined the exodus of 1813 and moved to Paris. 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 13, 2010March 7, 2024 by Dale Phillips Review: Violin Making — Live! Watch Me Make a Cello, Step-by-Step by Henry Strobel Review: Violin Making — Live! Watch Me Make a Cello, Step-by-Step by Henry Strobel Reviewed by John Calkin Originally published in American Lutherie #58, 1999 and Big Red Book of American Lutherie Volume Five, 2008 Video: Violin Making — Live! Video: Watch Me Make a Cello, Step-by-Step Henry Strobel, 1997 ISBN 0962067385 Henry Strobel has written a fleet of books about making violins, violas, and cellos, all of which build one upon the other. To use the cello book you should have first read the violin book, and so on. This video set uses the same idea, i.e., to use it to best advantage you must have the cello book, which needs the violin book for complete understanding, and so on, all in the house that Jack built. But if you buy the video set, Strobel will sell you the cello book for $10 instead of $30, which might remove some of the sting. And if you haven’t got a cello guru to run to as you tear into your first instrument, Strobel on tape may be the next best thing. The videos are not intensely detailed or perfectly complete. Almost no operation is carried through to completion on tape. But Strobel has the capacity to make cello creation seem wonderfully doable. The first three hours of tape whiz by with so little effort that even a casual viewer might decide to buy a whacking big gouge and a fistful of teeny planes. Carving the plates often seems like the scariest part of cello making, but Strobel makes it look like fun. 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 12, 2010March 7, 2024 by Dale Phillips Review: Guitar Finishing Step-by-Step by Dan Erlewine and Don MacRostie Review: Guitar Finishing Step-by-Step by Dan Erlewine and Don MacRostie Reviewed by John Calkin Originally published in American Lutherie #61, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Guitar Finishing Step-by-Step Dan Erlewine and Don MacRostie Stewart-MacDonald, 1998 ISBN 978-0964475236 The death of lacquer as an available finish was pronounced at least ten years ago. Because lacquer was so environmentally hazardous, the various levels of government were supposed to restrict its use to the point that manufacturers would find no profit in producing the stuff. Well, folks, it hasn’t happened, and lacquer remains the premier finish for most string instruments. If you’ve yet to have your first heady whiff of lacquer fumes, you should study Guitar Finishing Step-By-Step before you dive in. If your plans include the re-creation of the many factory guitar finishes, you should have this book regardless of your experience level. The book has a strange flow to it, though. There are only three stages of finish work — wood prep, finish application, and rubout. However, the plethora of tools and materials available today leave too naïve an approach open to confusion and failure. To avoid this, Erlewine and MacRostie rely on detailed description, technical information, and a degree of repetition to cover all the bases thoroughly. For instance, a description of power sanders is followed twenty pages later by a description of power sanding. Both sections include important and overlapping information. Readers who skip about in order to get on with their finish work will find themselves handicapped. 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 12, 2010March 7, 2024 by Dale Phillips Review: So You Want to Make a Double Bass; To Make a Double Bass; Double Bass Making Review: So You Want to Make a Double Bass; To Make a Double Bass; Double Bass Making Reviewed by David Riggs Originally published in American Lutherie #71, 2002 and Big Red Book of American Lutherie Volume Six, 2013 So You Want to Make a Double Bass Peter Chandler Peter Chandler, 2001 ISBN 9780968935309 To Make a Double Bass Harry S. Wake Harry S. Wake, 1995 (revised edition) ISBN 978-0960704866 Double Bass Making Bob Hitchings Gwyllum Press, 1999 ISBN 9780953715602 Until recently, would-be bass makers have had only one main source from which to get specific information on making the string bass. Harry Wake has now been joined by two authors who present distinct approaches to the subject. For those who may have been intimidated by the prospect of taking on such a seemingly difficult project, there is now a good deal of help available in these volumes. While it seems unlikely that one without any lutherie experience would tackle a bass as a first project, it is conceivable that one may be primarily interested in this instrument, and it is entirely possible to make a beginning, at least, with any of these books. For sheer detail and volume of information, I would probably pick the Hitchings book over either of the other two, but more on that later. Peter Chandler’s book is the slickest production with 93 pages and 109 figures, more than 20 of which are color photos. At $60US it is also the most expensive of the three. 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 12, 2010March 7, 2024 by Dale Phillips Review: Sunburst Finishing by Dan Erlewine and Don MacRostie Review: Sunburst Finishing by Dan Erlewine and Don MacRostie Reviewed by John Calkin Originally published in American Lutherie #63, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Video: Sunburst Finishing Dan Erlewine and Don MacRostie Stewart-MacDonald, 1999 Sunburst Finishing is sort of a strange video in that it’s intended to replace Stew-Mac’s out-of-date Color Finishing, yet it doesn’t cover nearly as much territory as the older film. So be it. It only costs half as much as the old tape, and the information included may be as much as you need. The only guitar involved is an archtop Guild with a maple face. Some repair work has been done to the top before the tape begins, and the finish has also been removed. The job at hand is to match the sunburst on the top to that of the rest of the guitar. A yellow toner has to be mixed for the maple, then a brown candy is blended to match the color of the burst. The techniques of precision blending are the heart of the video, an operation at which MacRostie is a master. Chip sheets and blending boards are made which can be stashed away for future reference. The work is also referenced to the recipes in MacRostie and Erlewine’s new book, Guitar Finishing Step-By-Step (p. 530), which is a useful touch. There is no wood prep involved in the job (as far as the camera is concerned), as this video is intended to work in concert with Spray Finishing Basics, another video by the same dynamic duo. Touchups are necessary when the binding is scraped after the color coats, and the airbrush work is caught on tape. A close look at MacRostie’s scraping tools is a helpful segment. 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.
