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 June 13, 2024May 14, 2025 by Dale Phillips Violin Bridge Holder Violin Bridge Holder by Alan Carruth Originally published in American Lutherie #7, 1986 and Big Red Book of American Lutherie Volume One, 2000 Thanks to George Manno for some feedback on his experience with bridge tuning. Bridges on good violins do tend to be quite similar, but I still like to work them up individually. And he is certainly right about fitting the feet! One dimension he seems to have left out is the thickness of the feet at the bottom of the bridge, generally given as 4.5MM (3/16"). If this is too heavy it can make the instrument sound “closed.” If you don’t want to thin it anymore a bit of wood can be removed from the end of the leg without affecting the stiffness too much. 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 June 6, 2024May 9, 2025 by Dale Phillips Banjo Fifth Peg Press Banjo Fifth Peg Press by John M. Colombini Originally published as Guild of American Luthiers Data Sheet #207, 1982 and Lutherie Tools, 1990 Procedure: Make a bushing from a 3/4"×3/8" piece of steel or brass round by drilling a 7/32" hole and countersinking one end. Round off the bottom of a 4" C clamp screw so it seats in teh countersunk hole in the bushing centering the clamp. Cut a hardwood block 2"×1 5/8"×1 5/8" cutout to fit the banjo neck. I use a contour gauge or my actual size templet. Apply 1/16" piece of leather to the cutout using contact cement. The drawing should explain the usage. The important part is to be sure the bushing is longer than the shaft of the tuning peg. Add spacers between the bushing and the peg shaft if you should come across a longer shaft or make a slightly longer bushing. ◆
Posted on June 6, 2024May 14, 2025 by Dale Phillips It Worked for Me: Veneer Scraper It Worked for Me: Veneer Scraper by Eugene Clark Originally published in American Lutherie #73, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 In the first episode of my two-part article on Spanish rosette construction (American Lutherie #71, Big Red Book of American Lutherie Volume Six), I described how important the sizing of the veneers is to the whole process, and showed the veneer scraper that I currently use. It uses a Stanley #90 bull-nosed shoulder plane. My first veneer scraper was a plane blade with a simple wooden holder, which, as I mentioned, is the type of tool that one might find in a Spanish shop. Jon Peterson had some questions about that tool, so I made one to show him. The anvil block, opposite the cutting edge of the blade, needs to be hard and stable. I used a scrap of seasoned maple with the end grain (which is harder than long grain) towards the blade. The base and the blade holder are scrap softwood, but any solid, stable wood could be used. The anvil block is screwed to the base and can be removed when it needs to be resurfaced. The larger of the two blocks that hold the blade is glued and screwed to the base. The narrower block is then clamped in position with the blade in place, pilot holes are drilled and screws are installed. The fit of the blade will now be too tight, but by backing out those screws a little, the blade will slide freely, yet very little tightening of the wing nuts will hold the blade firmly. The width of the gap between the blade and the anvil block is adjusted by tapping with a hammer on the end of the tool or on the exposed end of the blade. 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 June 6, 2024May 23, 2025 by Dale Phillips Questions: Thickness Measuring Tool Questions: Thickness Measuring Tool by Tom Nelligan and R.M. Mottola Originally published in American Lutherie #92, 2007 Georges E. Vougioukalakis from Athens, Greece asks: In my experimentation and research on double-top guitar construction I find a need for an instrument that can measure the thickness of the outermost skin of the top on a fully assembled instrument without damaging the top. Does anyone know of such a tool? I remember a citation of an instrument that was used to measure the thickness of the paint in autos. Tom Nelligan from Olympus NDT/Panametrics-NDT Products in Waltham, Massachusetts replies: Commercial ultrasonic thickness gauges of the sort made by my company (and our competitors) for measurement of industrial engineering materials like metals, plastics, and ceramics will not work on wood, because wood does not efficiently transmit sound waves at ultrasonic frequencies in the MHz range. Pulse/echo ultrasonic gauging is based on very precisely measuring the round-trip transit time of a short pulse of very high frequency sound waves through the test piece. But the high frequency/short wavelength wave front is scattered by the microstructure of the wood, so it is not possible to get the necessary clean echo from the inner wall. 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.
