Posted on July 1, 2022May 22, 2025 by Dale Phillips Inharmonicity of Guitar Strings Inharmonicity of Guitar Strings by Mark French Originally published in American Lutherie #100, 2009 Strings are uniquely well suited to make music because all their resonant frequencies are very close to being integer multiples of the fundamental frequency.1 The octave is the most consonant interval and the resonant frequencies of a vibrating string are separated from one another by octaves. The expression for the resonant frequencies of an ideal string is familiar to many luthiers. 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, 2022May 13, 2025 by Dale Phillips Violin Setups, Part One Violin Setups, Part One by Michael Darnton from his 1990 GAL Convention lecture Originally published in American Lutherie #35, 1993 and Big Red Book of American Lutherie Volume Three, 2004 See also, Violin Setups, Part Two by Michael Darnton Setups represent one of the most important aspects of violin work. They are the most changeable part of a violin and can make the difference between a customer liking or hating a violin. People who do setups for a living in large shops do a lot of them — countless numbers of bridges, pegs, posts, and nuts. If you’re making one or two or twenty instruments a year you’re not going to be doing many setups. For the people who do those things everyday, it’s a very specialized art and they have very rigorous standards. With that in mind I’m going to try to communicate to you some of those standards, along with some actual “how-to” hints. Tools A bench hook (Photo 1) is simply a piece of wood that has a strip nailed to the bottom on one end and a strip nailed to the top on the other end. It hooks over the front edge of the bench and gives a stop to work against. On the under side of my bench hook I’ve glued a piece of sandpaper (Photo 2). If a tiny, thin piece of wood needs to be planed thinner, I flip over the bench hook and use the sandpaper as a traction area. 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, 2022May 14, 2025 by Dale Phillips Violin Setups, Part Two Violin Setups, Part Two by Michael Darnton from his 1990 GAL Convention lecture Originally published in American Lutherie #37, 1994 and Big Red Book of American Lutherie Volume Three, 2004 See also, Violin Setups, Part One by Michael Darnton Bridge When fitting a bridge, the first thing to determine is the proper placement. Ideally the bridge is exactly centered between the inner nicks on the f-holes. This assumes that the holes are centrally located on the violin, which is not always the case, and that the fingerboard is pointed at that position, which it commonly isn’t. The most important aspect of bridge placement is that the string path should be in a straight line. That is, the bridge should be directly between the nut and the end button. In this centering I would expect a maximum total deviation of about .5MM, and I would try to compromise this adjustment the least, assuming that the strings remained pretty much over the center of the fingerboard. If the neck was pointed really wrong I might consider resetting it. Also, I always check to be sure of the position of the end button, and I’ll move it if necessary. In some instances this can be an easy method of correcting for a slightly-wrong neck set. If the f-holes were really off center on an old instrument and I had the time and money, I’d consider resetting the neck and end button off center to match, possibly replacing the neck so that the heel would still point (although crookedly) at the button at the top of the back, minimizing changes to the button. Anyway, with an understanding of the problem and the possibilities, find a good place for the bridge to sit in the “east-west” dimension, then determine the proper “north-south” location. Ideally, the length of the neck from the nut to the edge of the top next to the neck on the E-string side should be 130MM, and from that point to the middle of the bridge 195MM; a ratio of 2:3. Consistency in this ratio keeps the positions of the player’s fingers relatively the same compared to the edge of the body, no matter what the total string length — an important factor in finding notes in the upper positions. If the length on the neck is off, the position of the bridge should be altered to compensate. For instance, if the neck length is 128MM, the distance to the bridge (the “stop”) would be (128/2)×3=192MM. This is the theory, at least, but I should also warn you that like most things in the violin world this is a subject of controversy, because some people believe that the total length of the string is the most important thing and would deal with the 128MM neck by making the stop 197MM instead. These people maintain two things. Firstly, that the player will quickly adjust to the new ratio. This is true — just ask a viola player. Violas are notoriously nonstandard. Secondly, they assert that the proper string length is important for the tone of the instrument. This is possibly but not necessarily true. Now you know the logic; the decision is yours. 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 August 12, 2021May 20, 2025 by Dale Phillips Musical Strings Musical Strings by H.E. Huttig Originally published in American Lutherie #9, 1987 and Big Red Book of American Lutherie Volume One, 2000 In the realm of stringed musical instruments, logically enough, the quality and strength of the sound produced is largely dependent upon the strings that the instrument maker must use. To be sure, a string tensioned between two fixed points with no sounding box will scarcely make an audible response when plucked. On the other hand, the sound made by a finished instrument varies widely with the qualities of the strings that are used. There is a Persian legend to the effect that the stringed instrument concept was discovered by a person wandering in a desert. He came upon the shell of a tortoise. The bottom was lost but the top part still had dry sinews stretched across the hollow shell. The wind blowing across them made a musical sound. The Chinese gave us the idea of strings made of silk. There is still controversy as to whether the hunting bow with its vibrating string gave man the idea of a musical application or whether it was the other way around, the stringed instrument providing the idea of the archer’s bow. 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 August 11, 2021May 21, 2025 by Dale Phillips Calculating String Tension Calculating String Tension by Max Krimmel Originally published in Guild of American Luthiers Data Sheet #144, 1980 and Lutherie Woods and Steel String Guitars, 1997 Just how tight is that string? Experience tells most of us that the pitch of a string depends on how long it is, how big it is, and how tight it is. It would seem then, that we could figure out the tension if we know the pitch, mass, and length of any given string. Yes, it can be done. The biggest problem is to realize how A natural, 25.5", and .042" phosphor bronze can be converted into something recognizable as tension. I am not going to go into the why of all this as much as the how to do it. First, put the pitch into cycles per second, or Hz. Next put the length into CM. Then find the mass of the string by weighing a piece of the string as long as your string length. Cut the ball or any other windings off the string before you weigh it on a gram scale. Then insert these variables into the following formula. 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.
