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Fluorescent Inspection Lamp

Fluorescent Inspection Lamp

by Kent Rayman

Originally published in Guild of American Luthiers Data Sheet #119, 1979 and Lutherie Tools, 1990

 

Materials:
Switch
Small fluorescent bulb
Ballast 115V for 4, 6, or 8W bulb
Starter assembly
Coil telephone receiver cord
Metal chassis box
Rubber grommets (2)

All photos by Kent Rayman.
Rayman-lamp-03

This lamp puts out a lot of even, shadow-free light, and it fits through f-holes. A retractable phone cord works well. Solder the leads right to the lamp’s prongs, then tape (crude, but it works). ◆

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Evolving the Dished Workboard

Evolving the Dished Workboard

by John Calkin

Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie, Volume Six, 2013



For my money, the dished workboard is one of the most important lutherie inventions ever, making it possible for even rookies to build guitars that are precisely and tightly put together. I’d like to suggest ways to make them more useful. First, though, let’s make it clear what the heck we’re talking about.

Guitars were initially built with flat tops. Classical guitars (and not a few steel strings) were built on a flat workboard that more resembled a tabletop than a piece of movable gear, since it was the size of the entire instrument, neck included. The construction method using the Spanish foot required this size, since the neck became a structural part of the body. Mechanical joints such as the dovetail or bolts freed the luthier to build the body and neck as separate units, and the workboard was reduced to a laminated rectangle the size of the body, and was often dispensed with altogether when the body was built inside a mold.

In 1975 David Russell Young published The Steel String Guitar, the first guitar construction book recommending domed tops. Young, however, made no mention of the dished workboard, but used more primitive methods to achieve the domed top. It wasn’t until the late ’80s that the spherically domed guitar top began to catch on. (Forgive me if I simply call them SDTs.) The easiest way to build SDTs was on top of a spherically dished workboard, which came on the market about that time. (Let’s not call them SDWs; I’ll explain why in a bit.) The merits of SDTs are not at all obvious to musicians, nor are all luthiers convinced that they are the way to go, but an important thing happened here. Guitar backs have always been arched, and fitting an arched back to a set of bent sides equipped with lining and end blocks has always been one of the bugaboos of lutherie. It’s not easy to do in a professional manner. But with one simple step, it became possible to fit perfectly arched braces to a perfectly arched back, and then to fit the entire assembly to perfectly shaped ribs.

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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.

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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.

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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. ◆