Posted on June 3, 2025June 20, 2025 by Dale Phillips An Introduction to Metal Engraving An Introduction to Metal Engraving by David Giulietti from his 2001 GAL Convention workshop Originally published in American Lutherie #68, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Design is always the most important element in engraving. I like a clear, simple design that has a central theme. I like it to have a structure and a pattern that is easily read from across the room, but still looks nice when you get up close. If you don’t have a good plan to start with, any job becomes more difficult. Once you make a mark, it’s there and it is very hard to take it out, so it’s always good to know exactly where you are going to go before you start. It is helpful when starting a design to first look at the big picture before you fill in any of the details. Start with the general shape of the design. You’ve got a box, or a circle, or some kind of shape; no matter what it is, you always want to consider what the biggest lines are, and put them in first. I always draw my largest elements first, clean them up, and then add other smaller elements to the design, and work down from there. In drawing scrolls or people, or any design, it is always the same — start with the biggest elements and work down to fine details. When you work in this way, all of your design aspects come together as a unified whole. Everything flows together. 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. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on July 7, 2024May 9, 2025 by Dale Phillips It Worked for Me: Low Cost Emergency Lathe It Worked for Me: Low Cost Emergency Lathe by Gerhart Schmeltekopf Originally published in American Lutherie #29, 1992 and Big Red Book of American Lutherie Volume Three, 2004 Most luthiers probably don’t have wood lathes, so I submit this low-cost, emergency lathe setup for the times you might want to make a music stand, washtub bass, or baseball bat for the local luthiers’ picnic. I bought commercial turnings to make a student harpsichord stand. They were “sanded and ready to finish,” so I knew that they would need to be sanded before finishing. They are too long for my lathe, so I rigged this temporary reciprocating or “pole” lathe to spin them and sand them. 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 21, 2025 by Dale Phillips Nuts and Bolts for Bridge Gluing Nuts and Bolts for Bridge Gluing by Tim Olsen Originally published in Guild of American Luthiers Data Sheet #126, 1979 and Lutherie Woods and Steel String Guitars, 1998 The holes of a pin-style bridge provide a golden opportunity to apply some very convincing clamping pressure. I use 3 10×32 1" round-head bolts with washers, wing nuts, and pieces of drilled shoe sole leather to temporarily bolt the bridge on while gluing. This not only exerts a strong pressure to the back edge of the bridge, but the bolts ensure an accurate alignment of the bridge. All that remains is to set a deep-throated cam clamp on each end of the bridge. The leather washers will take up any slop that the bridge might have. This is a natural for repair work as well as construction. ◆
Posted on July 1, 2024May 22, 2025 by Dale Phillips Questions: Single Fretting Fixture Questions: Single Fretting Fixture by Tim Shaw Originally published in American Lutherie #101, 2010 Mark French from West Lafayette, Indiana asks: Do people ever make a single fretting fixture and just pick off whatever section they need for a specific type of instrument? I started with a 25.5" scale length and added some frets to bump it up to about 34.07". It looks like I can use this set of positions to find fret spacing for everything from a bass to a mandolin. Tim Shaw from Fender in Nashville, Tennessee responds: You could also use this for both medium-scale bass, which is usually 32", and short-scale bass, which is typically 30" or so. Since Leo Fender had the 25.5" scale first, I don’t know if he actually “added” frets to come up with 34", but that was certainly possible on the prototype. The shorter Fender scales were also probably started by lopping frets off a standard 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 July 1, 2024May 22, 2025 by Dale Phillips Letter: Thicknessing Router Article in AL#101 – Surfacing Bit Letter: Thicknessing Router Article in AL#101 - Surfacing Bit by John Park Originally published in American Lutherie #102, 2010 Tim, Since the thicknessing router article (AL#101, p. 58) was written, a friend has tried using a 1" surfacing bit. It has blades on the bottom, much like an auger, which seems to have the trait of lifting the wood. I think it has a propeller action that creates a suction problem. In my opinion, using a cutter like that defeats the purpose. A straight bit cuts the end grain and so can disregard runout and figure. There will always be a slight suction due to the velocity of the air over the top surface being higher than the air under the wood. This is Bernoulli’s Principle which is what gives wings lift. I use a 3/4" straight bit and I’ve yet to encounter enough lift to make a significant error at a dimension of about 2MM or .080". Using this device to give less thickness than that could cause problems because the span from the hold-down remains fixed while the stiffness drops as the cube of the thickness. In other words, making veneer would not be practical. 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.
