Posted on January 13, 2010May 20, 2025 by Dale Phillips Letter: Erikson Letter AL#7 Letter: Erikson Letter AL#7 by George Manno Originally published in American Lutherie #8, 1986 Dear Tim: In response to Mr. Erikson’s letter, published in American Lutherie #7, I’d like to say that just because violin makers focus their talents on one art form, it shouldn’t and doesn't make me feel above any of my fellow lodge brothers or sisters who practice their talents in another form. I felt Mr. Erikson was trying to impy just that when he referred to violin makers as “a special breed.” I also disagree with his statement that the American Federation of Violin and Bow Makers lacks unity. Although I am not a member of this federation, I have spoken to its president and secretary on many occasions. Unity within the federation is stressed at all times. The question of work ethics, which I raised in the article entitled “Honesty” (American Lutherie #5), is only a small part of a bigger concern that many violin makers face. In many ways, the G.A.L., with its publication, has helped bridge the gaps that arise due to the lack of information being published by and for violin makers. Tim, I applaud your efforts. American Lutherie #7 was one of the best violin-related issues ever. If you are an amateur maker or a professional maker or repairman/woman who would like to start a new guild for violin and bow makers, with the sole purpose of sharing more information on making, repair techniques, and instrument identification, please contact me. I’d be willing to start some sort of newsletter to help get it off the ground. This does not mean that I am leaving the G.A.L. Sounds great! The GAL loves lutherie info sharing in any form. Also, American Lutherie has good violin stuff in the can for upcoming issues. Thanks to members like you, George, our violin family coverage has improved noticeably. -Tim
Posted on January 13, 2010May 27, 2025 by Dale Phillips Letter: Circles in Classical Violin Design Letter: Circles in Classical Violin Design by Jim Blilie Originally published in American Lutherie #89, 2007 Hi Tim, I’m sure Michael Darnton has infinitely more experience with violin design and a much more sensitive eye for the form of violins than I do (See The Power of Circles). That being said, I was really bothered by his article. Mr. Darnton writes that his theory of circles in the design of classic Cremonese violins seems to be the only one that will produce aesthetically pleasing shapes. I have no doubt that circles were used extensively in the design of violins, since they are much easier to draw than parabolic, hyperbolic, or elliptical curves. But he goes on to say that essentially all the extant violins of the height of the Cremonese school do not follow his plan. He posits various reasons for this, but in engineering, if the data don’t match your theory, you go back to the drawing board and find a new theory! 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 January 13, 2010May 20, 2025 by Dale Phillips Letter: Hardingfele Letter: Hardingfele by Loretta Kelley Originally published in American Lutherie #8, 1986 Dear Editor: In connection with Hardingfele: People who are interested in this instrument might want to become members of the Hardanger Fiddle Association of America (126 S. Thayer Avenue, Sparta, WI 54656) Members receive a quarterly newsletter containing not only informative articles, but sources for instruments and supplies. The book on making this instrument is “Vi Byggjer Hardingfeler”, by Sverre Sandvik, published by Tiden Norsk Forlag, Oslo, 1983, ISBN 82-10-02357-8 (in Norwegian). Irving Sloan writes about making a hardingfele in “Making Musical Instruments”, Dutton, 1978, ISBN 0-87690-293-X. He is interesting, although his guess that the f-holes are bent instead of carved is wrong, and some of his other assertions are just assertions. Some additions to Mr. Peters’ articles: neither of my fiddles have purfling, and I’m not sure I’ve ever seen one with purfling, except converted violins. The traditional carving on the top is usually described as a dragon or perhaps a lion. And many hardingfeles have five sympathetic strings instead of four.
Posted on January 13, 2010May 28, 2025 by Dale Phillips Questions: Full Sized Violin Molds Questions: Full Sized Violin Molds by Henry Strobel Originally published in American Lutherie #58, 1999 Pat Montenegro from St. Angelo, TX asks: Where can I get full-size violin molds? Henry Strobel of Aumsville, OR responds: Most people make them rather than purchase them ready made. My books on violin making should be of help. (For more information on Henry Strobel’s books see reviews in AL#39.)
Posted on January 12, 2010May 23, 2025 by Dale Phillips Questions: Violin Tailpiece Questions: Violin Tailpiece by Marilyn Wallin Originally published in American Lutherie #90, 2007 Douglas Edgar from the Internet asks: I’m an amateur violin maker having some trouble with violins coming unglued near the tailpiece. The saddle, top, and block all seem to be fitted correctly. I’m using granular hide glue with a dash of salt in it. 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.
