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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. ◆

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Questions: 3 String Balalaika Tuner

Questions: 3 String Balalaika Tuner

by Francis Kosheleff

Originally published in American Lutherie #71, 2002

 

Bob Mussro from cyberspace asks:

I’m trying to find replacement tuners for a three-string balalaika. Would you have such or know of a source?


Francis Kosheleff from Los Gatos, CA
responds:

The easy solution to the problem is to remove the old tuners, plug the three holes , and get single tuners like Schaller or Gotoh. Drill a hole on the treble side of the peghead for one tuner (steel A string ). Do the same on the other side for the two nylon E strings.

The hard solution, if you absolutely need a perfect, identical, replacement is to send somebody you trust to Russia to search for the craftsman or the factory who made your instrument and buy the replacement
tuners. (Good luck!)

Another (expensive) solution is to have somebody (professional) build a copy of your tuners. And finally you can alter two of the three tuners by making a longer shaft (a small length of thin tubing) that will reach the edge of the peghead from the existing holes. It’s not too difficult to do. I have done that a couple of times. ◆

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Product Reviews: Knilling Perfection Planetary Pegs

Product Reviews: Knilling Perfection Planetary Pegs

Reviewed by Randy DeBey

Originally published in American Lutherie #100, 2009



By now, just about everyone who works with stringed instruments has at least heard of Pegheds or Knilling Perfection Planetary Pegs. These are geared tuning pegs that look very much like ordinary ebony friction pegs, but work more like fine tuners. They contain a set of planetary gears, which reduce the rotation by a rate of 4:1 for violin family instruments and flamenco guitars, and 16:1 for steel string guitars.

Those who haven’t yet taken the plunge and installed a set are probably waiting to have various concerns answered. I’ll try to explain how they are constructed, so you can imagine for yourself how well they might work, and also relate some of my own experience with them. I’ve installed over 100 of the pegs, mostly in violins, but also in cellos, ouds, a banjo, and a guitar.

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Shortening Schaller Shafts

Shortening Schaller Shafts

by David Golber

Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie Volume Three, 2004



I’ve been making a Yugoslav folk instrument called prim. It’s something like a small mandolin; the scale is 15 1/4". For tuning machines, I’ve been using Schaller M6 minis, but I’ve been modifying them to solve some problems: the peghead is only 3/8" thick, and the threaded bushings that come with the Schallers don’t tighten down this far; the instrument tends to be too heavy at the head; and I have trouble getting enough string angle over the nut.

The photos show what I’ve done to the Schallers. The threaded bushings have been shortened; the metal knobs have been replaced by the proverbial Handsome Pearlescent Plastic; and the shafts have been cut down short and reshaped.

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The Portuguese Guitarra: A Modern Cittern

The Portuguese Guitarra: A Modern Cittern

by Ronald Louis Fernández

Originally published in American Lutherie #27, 1991 and Big Red Book of American Lutherie Volume Three, 2004



In Portugal, the word guitarra refers to a present-day cittern similar in appearance to and directly derived from the 18th-century English guitar. This instrument, typically accompanied by a Spanish-type guitar called viola or violão in Portuguese, is used in performing musical variations and in accompanying the fado, an urban Portuguese song form. Consequently, it is also known in Portuguese as the guitarra de fado.

While these instruments are not abundant in North America, luthiers do encounter them here, especially where Portuguese fishermen have come ashore or emigrants have settled — New Bedford and Fall River, Massachusetts; the Hawaiian Islands; Providence, Rhode Island; San Diego, San Jose, Tulare, Visalia, Artesia, and Chino, California; Newark, New Jersey; Seattle, Washington; Montreal, Quebec; Ottawa and Toronto, Ontario; Winnipeg, Manitoba; and Vancouver, British Columbia.

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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.

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