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 8, 2024May 14, 2025 by Dale Phillips Parametric Solid Modeling Software for Stringed Instrument Design Parametric Solid Modeling Software for Stringed Instrument Design by R.M. Mottola Originally published in American Lutherie #87, 2006 Most folks are awed when first witnessing a Computer Numerical Control (CNC) machine shaping an instrument part. Since such a demonstration makes the advantages of using this technology immediately obvious, a number of people look into acquiring these tools for their own use. A substantial portion quickly loses interest when finding out the depth of complexity of the tools needed to design and build in this manner. Computer Aided Design (CAD) software must be mastered in order to draw the parts. Computer Aided Manufacturing (CAM) software must be mastered in order to specify how the drawings will be utilized in the machining process and to control the CNC machine. And the details of the CNC machine itself must be comprehended before real work can be performed. All of this conspires to lead all but the highly technical and/or highly motivated to the conclusion that these technologies need to be made a lot simpler and more accessible before they can be widely exploited in the industry. Adaptation and use of these technologies can be considered analogous to that of the automobile. When first introduced, the car was something only accessible to those who could understand all of the details of the machine (and repair all the parts, too), but eventually it evolved into a more commodity-like device that is usable with little or no knowledge of its inner workings. This article is an introduction to Parametric Solid Modeling (PSM), an existing second-generation CAD technology that offers potential to bring the benefits of CAD/CAM/CNC to a wider user base. A comprehensive library of parametric models of instrument parts and subassemblies could go a long way toward making these technologies generally accessible. The availability of such a library could render a number of aspects of instrument design to sequences of preparing simple drawings and filling in values in forms. No such library currently exists, but it is possible and likely that one could be developed. Folks working with PSM software in this industry undoubtedly have developed such models for their own use. I have some of my own and will use one as an example of how this technology works. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 8, 2024May 21, 2025 by Dale Phillips de Grassi & Dawgs: Our Hates & Luvs de Grassi & Dawgs: Our Hates & Luvs by David B. Sheppard Originally published in Guild of American Luthiers Quarterly, Volume 9, #3, 1981 I conducted brief interviews with some of the top-notch performers at the 1980 G.A.L. Convention; David Grisman, Mike Marshall, Mark O’Conner, and Alex de Grassi. I asked each of them the same questions: What instruments do you use on stage? As you might expect, this question produced a variety of answers. Alex de Grassi uses three recent instruments; two made by the Guild Guitar Company (a six-string and a twelve-string), and his main guitar made by Ervin Somogyi. The members of the David Grisman Quintet (Grisman, Marshall, and O’Conner) use a number of vintage instruments on stage, most of which are Gibson; F-5 mandolins, H-4 mandola, K-4 mandocello. At the time of the convention Mark O’Conner was using a vintage Martin D-28 guitar, but shortly thereafter he purchased a cutaway flattop guitar from Ervin Somogyi and is now using it most of the time. The Grisman Quintet also uses recent mandolins by Guild member John Monteleone in its performances. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 7, 2024May 15, 2025 by Dale Phillips Questions: Martin Finish Questions: Martin finish by Walter Carter Originally published in American Lutherie #104, 2010 Kerry Char from Portland, Oregon asks: Exactly what kind of finish were Gibson and Martin using before they switched to nitrocellulose lacquer? How was it applied, and when was the switch. I’m thinking that it was oil varnish similar to violin varnish, because it is resistant to acetone. But if that’s the case, how did Gibson do some of their sunbursts? I know that the earlier ones were rubbed, but later ones from the ’20s and ’30s look sprayed. Walter Carter from Nashville, Tennessee replies: Neither Gibson nor Martin made an across-the-line change from varnish to lacquer. Richard Johnston and Dick Boak note in their recent book, Martin Guitars: A Technical Reference, that Martin finishes were French polish (shellac) until 1918, when they began experimenting with different combinations of varnish and lacquer. Martin first used nitrocellulose lacquer in 1926, and by 1929 it was the standard finish on most Martin guitars. For Gibsons, Stephen Gilchrist offers this information: Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 7, 2024May 15, 2025 by Dale Phillips Questions: Martin Style 5-18 Questions: Martin Style 5-18 by R.J. Klimpert Originally published in American Lutherie #103, 2010 Larry Crozier from the Internet asks: A customer wants a Martin-style 5-18 guitar built. I was wondering if GAL Plan #8 for the Martin 1-18 is the same or close enough. If not, could you recommend somewhere to get a 5-18 plan? R.J. Klimpert of Barrington, Rhode Island responds: The chief reason that the 1-18 pattern won’t work to build a 5-18 is that the Martin 5-18 is a “terz” guitar, meaning that the neck and scale length are considerably shorter than that of a regular Martin, allowing for the higher-than-standard tuning that terz guitars are known for. The 1-18’s body, while narrow and seemingly similar in size to a 5-18, is too long to allow for a terz short-scale neck. The 5-18 is actually closer to a Martin Style 51 baritone uke in body size and scale. In fact, Martin reportedly reused an old terz guitar pattern when they started producing the 10-string tiple in the late ’teens. As for finding a pattern that would work for building a 5-18, it might be possible to reduce the dimensions of a 000-18 — all except the width of the neck — to approximate the correct size and shape. Or conversely, scale UP the dimensions of a Martin tiple (GAL Plan #37), since the 5-18 terz guitar lies somewhere between the two. ◆
