Posted on November 13, 2019March 7, 2024 by Dale Phillips Controlling Strings, Wood, and Air Controlling Strings, Wood, and Air from her 1979 GAL Convention lecture Originally published in Guild of American Luthiers Quarterly Volume 8, #3, 1980 and Big Red Book of American Lutherie, Volume 1, 2000 I’d like to take a minute to tell you a story. Imagine the scent in front of a cave some 20,000 years ago. A family has just killed a bear and is skinning it and preparing the meat for food. They’ve given some of the rawhide to their young son who has made some strips to string his first hunting bow. He and his sister are sitting out in front of the cave trying to tie some of the slippery strips to the bow-stick. As they do this the boy puts one end of the stick in his mouth to hold it steady as he tightens and ties the slippery stuff. As he plucks the rawhide to check the pull he suddenly realizes he can get different sounds depending on how he bites the stick and shapes his lips and cheeks around it. This could have been the origin of the musical bow. When I told this story in Ames, Iowa, a few years ago it created quite a lot of interest. After the lecture they produced a record of someone playing the mouth bow. I now have a mouth bow that a young man made for me which is quite a challenge to try to play. Actually, we are working with the same three elements that the young cave boy had under his control: strings, wood, and air. He could vary all three of these quite easily to a certain extent. In our modern bowed and plucked strings, however, the wood and the air resonances are more or less set when the instruments are made. For years I have worked to test the effects of variations in the wood and air resonances, but it means taking the instruments apart to thin the plates or slice down the height of the ribs (on expendable instruments, of course!) 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 October 31, 2019March 7, 2024 by Dale Phillips Meet the Maker: Douglas Martin Meet the Maker: Douglas Martin by Barbara Goldowsky previously published in American Lutherie #90, 2007 The violin is about the only man-made device that is made today exactly as it has been for the past 300 years. Now, finally, a revolution may be under way, according to Joseph Curtin of Ann Arbor, Michigan, the craftsman who just recently was awarded the first MacArthur Fellowship ever granted to a violin maker. The cause of his startling statement is a balsa-wood violin that produces the powerful sound and excellent response everyone in the profession strives for. The unusual instrument’s creator is Douglas Martin, an amateur maker from Maine, who first introduced it to colleagues in July 2004. Since then, Mr. Martin’s work has sparked such enthusiasm that a special “Festival of Innovation” has been added to the Violin Society of America’s upcoming convention, from November 10–13, in King of Prussia, Pennsylvania. The new program’s goal is “to explore the future evolution of the violin — to inspire makers to follow their creative dreams wherever they may lead,” according to Fan Tao, a research scientist and a director of the VSA. In the society’s most recent newsletter, Mr. Curtin, also a director, claims that the traditional violin is “obsolete,” and urges members to “judge for yourself — join in the arguments, hoot or applaud — but don’t let the revolution start without you!” 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 October 31, 2019February 5, 2024 by Dale Phillips Bow Rehairing Bow Rehairing by Paul Hill previously published in American Lutherie #91, 2007 Bows need rehairing on a regular basis. As bow hair ages it gets brittle and breaks more easily, and with use it wears itself smooth, won’t hold rosin as well, and produces a thin sound. Sometimes hairs break more on one side than the other, pulling the bow sideways. Bow bugs may chew the hair into a frizzy pile. Some fine violinists can hear the change in tone and have their bows rehaired every few months, and some fiddlers wait till there are only a few dozen hairs left. Beginning violinists may not notice the degradation in tone since it happens slowly, but most will notice immediately when they get new hair! I rehair about fifty bows a year, and have been doing it for thirty years. My one-man repair shop is in my basement and space is at a premium, and since this is not my favorite job, I’ve evolved a compact system that works for me, minimizing the time and tedium, and making it enjoyable in a Zen kind of way. 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 26, 2019March 7, 2024 by Dale Phillips The Catgut Acoustical Society and the New Violin Family Association The Catgut Acoustical Society and the New Violin Family Association by Robert J. Spear previously published in American Lutherie #86, 2006 See also, Meet the Maker: Carleen Hutchins by Alan Carruth The New Violin Family by Alan Carruth The Catgut Acoustical Society (CAS) had been known for nearly fifty years for the creation of the violin octet, mainly through the research and development of Carleen Hutchins (with the assistance of over a hundred society members), but the society also undertook a number of acoustically related projects during this same period. As the 20th century ended, some members wanted to focus more on these areas. There was also a growing feeling among the octet developers that this magnificent set of instruments needed to leave the world of science and enter the world’s concert stages. At the end of 1999, the society split into two groups, with one retaining the original CAS name and research focus. The other, the New Violin Family Association (NVFA), was formed to take on the challenge of promoting the Violin Octet. The division produced advantages and disadvantages for all concerned. The CAS and NVFA were now free to focus more directly on their respective areas of interest. But both were considerably smaller and financially weaker after the membership divided, and each soon had to redefine itself. 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 20, 2019March 7, 2024 by Dale Phillips The New Violin Family The New Violin Family by Alan Carruth previously published in American Lutherie #86, 2006 See also, Meet the Maker: Carleen Hutchins by Alan Carruth The Catgut Acoustical Society and the New Violin Family Association by Robert J. Spear These diagrams are intended to show the relative sizes of the octet instruments; dimensions shown are not definitive. Detailed full-scale plans are available from the New Violin Family Association. The neck of the small bass as shown here is longer than might be expected. This is to ease the transition between a standard bass viol and the octet small bass. Small basses have also been built successfully with necks that are more in scale with the instrument body. The largest five instruments are played on endpins. 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.
