Posted on July 17, 2023November 1, 2023 by Dale Phillips Ken Parker’s Uncut Personal Take on the Genesis of the American Archtop Guitar Ken Parker’s Uncut Personal Take on the Genesis of the American Archtop Guitar as told to Mike Doolin Published online by Guild of American Luthiers, July 2023 First, let’s note that a well developed, centuries long tradition of plucked, fretted instruments travelled to America from Europe, just like CF Martin did in 1833. He was the key figure in the evolution of the 6-string American guitar, and the importance of his work as a ferocious, persistent, successful instrument inventor cannot be overstated. Although there were other builders who did exceptional work and have had some continuing influence, CF laid the groundwork for the flattop designs we still revere and copy today. There is no analog in the field of archtops, which have kind of stumbled from insult to injury, as I’ll try to explain. It’s my view, and you don’t have to like it, but I’ve been obsessed, and paying a lot of attention for a long time, so I hope you’ll give me your ears. Circa 1890, brilliant oddball Orville Gibson decides to try to improve fretted instruments for his own use as a hobbyist. He played mandolins, which were becoming very popular, and he saw room for improvement and his artistic expression. He didn’t care much about the guitar, and so didn’t make many of them, maybe a dozen, some think even fewer. Orville concentrated his efforts on mandolins and harp guitars. He turned out to be a talented and prolific builder, and was active as a musician and performer. Orville had no training as an instrument maker or woodworker. He grew up on a farm in Western NY state during the second Industrial Revolution, and we all know that farm girls and boys can do a lot with a little. He moved to Kalamazoo, Michigan, a fast growing manufacturing center ripe with opportunities, full of startups and others eager to make their mark in the modern world. He was self-financed, working day gigs as a sales guy in a shoe store, then in a restaurant, whatever it took. Sound familiar? He made a close friend, Thaddeus McHugh, an expert woodworker, who may have had some training in Lutherie. Thad had a great singing voice they performed together. More on this important guy later… Orville was a good musician and although I’m sure he knew about violins, when he designed his arched mandolins and guitars, he followed his own design instincts. Some of his innovations were good, and others… well let’s say there was very little that he took from violin family bowed instrument construction. 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 April 21, 2023April 24, 2023 by Dale Phillips Questions: Amplifying Flattop Bass Questions: Amplifying Flattop Bass by Harry Fleishman Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Mark Brantley of Appleton, Minnesota asks: I recently ordered Tim Olsen’s plans for the Flattop Bass (GAL Plan #13). Do you have any advice on a good electric pickup for it? Harry Fleishman of Boulder, Colorado responds: It’s difficult to offer too much advice about amplifying your acoustic bass without more input about how loud you need to play, how high a fidelity to the instrument’s actual acoustic voice you want, and what your budget is; but here goes anyway. 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 March 4, 2022April 12, 2023 by Dale Phillips Mossman Truss Rod Adjustment Mossman Truss Rod Adjustment by S.L. Mossman Originally published as Guild of American Luthier's Data Sheet #263, 1983 Explanation of the Truss Rod and how it Works The steel rod is laid in at a curve. The curve extends from the first fret and tapers off at the ninth fret. Since the rod is anchored at both ends, when the nut end is tightened it simply shortens the rod by pulling the curve out of the rod and straightening itself, forcing the low part of the rod up and pulling the hight point down, which is the point of least resistance, causing a back bow in the neck. 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 April 7, 2021April 12, 2023 by Dale Phillips Improved X Bracing Improved X Bracing by Don Musser Originally published as Guild of American Luthiers Data Sheet #172, 1981 and in Lutherie Woods and Steel String Guitars, 1997 After building a number of guitars with the standard steel string X-bracing pattern, I noticed some problems. First, even when the braces were precurved to a 25' radius, there was still a deformation just behind the bridge that was caused by the upward pull of the strings on the inner bridge plate. Energy which could have gone to sound production in the whole top was being lost to wood deformation in a small area of the top. Second, there was always a problem of creating a guitar having both an outstanding bass and treble response. Good bass response requires less or lighter bracing on the bass side of the top. A crisp, well-defined treble requires more or slightly heavier bracing on the treble side. The challenge was to be able to achieve both without retarding either. 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 September 9, 2020April 12, 2023 by Dale Phillips The Bluegrass Dobro The Bluegrass Dobro America’s Second Native Instrument by Bobby Wolfe Originally published in American Lutherie #5, 1986 and Big Red Book of American Lutherie, Volume One, 2000 There is a little ditty known as “The Duck Principle.” It says: If it looks like a duck, if it walks like a duck, if it quacks like a duck, then it must be a duck. Well, since the Dobro only looks like a guitar, and even in this respect with significant differences, and doesn’t qualify in the other ways, I say it’s not a duck. Seriously, in my opinion, the mechanically amplified instrument known as the Dobro does qualify as America’s second native instrument. This article is designed to acquaint you with the Dobro and to provide information on common repair and setup needs of the instrument. Today, in addition to the members of The Original Family building the original instrument, there are many individuals building their versions. Most of these people have their own ideas and opinions about what works best. Therefore, I am not presenting my ideas, experiences, and working practices as the “last word.” First, let’s define Dobro. It is a registered brand name that is now also used generically to describe most resonator-type guitars. The name comes from the Dopera (Dopyera) brothers. There are five Dopera brothers. There are five letters in Dobro. The word dobro means “good” in their native Slavic language. Take your pick! 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.