Posted on January 12, 2010February 7, 2024 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.
Posted on January 12, 2010March 7, 2024 by Dale Phillips Review: The Art of Violin Making by Chris Johnson and Roy Courtnall Review: The Art of Violin Making by Chris Johnson and Roy Courtnall Reviewed by Michael Darnton Originally published in American Lutherie #64, 2000 and Big Red Book of American Lutherie Volume Six, 2013 The Art of Violin Making Chris Johnson and Roy Courtnall Robert Hale, 1999 ISBN 978-0709058762 When I first received my copy of the Johnson and Courtnall book Art of Violin Making I found it relatively complete, but for some reason irritating. I put it away and didn’t look at again for months. Now, going back much later for this review, its strengths and weaknesses are much more apparent to me. As a publishing effort, it’s first rate, and by far the best-written and most copiously illustrated violin-making book ever. Each section is well illustrated with many drawings and easy-to-read photographs. Considering the information it contains, the price is low for a violin book of any sort. 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 12, 2010February 7, 2024 by Dale Phillips Questions: Violin refinish Questions: Violin refinish by Michael Darnton Originally published in American Lutherie #103, 2010 Winthrop Eastman from the Internet asks: I have a violin that belonged to my great grandmother. It has been in an attic for many years. We sold the house and I rescued the old violin. I would like to restore or refinish it, but I don’t want to damage its sound quality in any way. Can you direct me to a book or literature on how to restore such stringed instruments. I am quite handy at restoring furniture but have never tackled a violin. There is a dusty old label inside the violin that says “Carl Friedrich Pfretzschner 1773.” 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 12, 2010February 7, 2024 by Dale Phillips Questions: Balsa Wood Violins Questions: Balsa Wood Violins by Douglas Martin Originally published in American Lutherie #89, 2007 ■ Christine B. from the Internet asks: I’ve heard rumors about excellent-sounding violins made of balsa wood. If there are such things, doesn’t this raise questions about why spruce is used for violin tops and harder wood for the sides and back? 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 11, 2010February 7, 2024 by Dale Phillips In Memoriam: Hammond Ashley In Memoriam: Hammond Ashley Passed on May 1, 1993 by Dave Wilson, Peggy Warren, and Jonathon Peterson Originally published in American Lutherie #34, 1993 and Big Red Book of American Lutherie Volume Three, 2004 Hammond Ashley died on May 1, 1993 at the age of 91. We have lost an advocate for fine music and fine musical instrument making, and a good friend. Music was always an important part of Ham’s life. He played banjo in a dance band while studying mechanical engineering at Stanford University. Later, when working for the U.S. Army Corps of Engineers in Europe, he bought a bass and began learning to play. Years later, while working in Seattle as an engineer for Boeing, he played bass with the Highline Symphony, a group he helped to found. At the age of 80, Ham’s hearing deteriorated so he couldn’t hear directions from the conductor, so he took up the cello, which can be played without a conductor in smaller groups. He had a woodworking background, too. Ham had his own cabinet shop 1928 and specialized in custom antique furniture reproductions and fine interior woodwork. His clients included Edward G. Robinson, Jack Benny, Jerome Kern, and Mrs. Oscar Hammerstein. After the Christmas 1963 layoffs at Boeing, Ham planned on having an active retirement. With a background in engineering, woodworking, and music, lutherie seemed a natural choice. He set up shop under the airport’s landing approach and worked on a little of everything — organs, pianos, and even furniture. But the second floor was devoted to lutherie. He ended up having a whole new 30 year career. His lively interest in advancing the science of sounds led him to explore both the old and the new. Making, restoring, and repairing included experiences with many varieties of stringed instruments including gamba, bass, cello, viola, violin, the eight members of the “new family” of violins, rebec, sitar, sarod, crwth, and harp. But his specialty was the violin family, particularly basses. He worked with Carleen Hutchins of the Catgut Acoustical Society, and was an active member of the GAL. Dozens of people worked for and with him over almost 30 years. Ham set the pace. You might see him elbow-deep in papers at his desk, or working with the plates and winding up with glitter all over his face, or all bent over, with curled up hands, carving a scroll, varnishing a bass, or talking with customers, many of whom became friends. At age 90 he cut his hours down by taking more than an hour for lunch, and so putting in less than 44 hours a week. Ham made music by playing, by his craftsmanship, and by making instruments usable and available to others. Joyful noises came from the house over the years as Ham had fun making music with others. Ham knew what he liked, and generously helped himself, as he in other ways helped others. Friends were invited to stay to lunch or overnight on the spur of the moment. He treated others as he’d like to be treated, giving them the freedom to be themselves. When asked if something was all right with him, he’d say something like,“Whatever works for you,” or, “Don’t undervalue yourself or your work, or others won’t appreciate what you do for them.” Ham was well educated, interested in a wide variety of subjects, and had a wide variety of friends. He was a woodworker, a builder, a storyteller, a figure-it-out scientific kind of person, a thinker who worked with his hands, a courteous, determined, matter-of-fact, down-to-earth gentleman. He was greatly loved, and he will be missed. Hammond Ashley Associates, Inc. will continue under the guidance of Dave Wilson and Paul Hammond Ashley, his grandson. — Dave Wilson and Peggy Warren Photo by Michael Darnton. Ham called the Guild office a few weeks ago to let us know he was dying, and to say goodbye and thanks for everything. I asked him how he was feeling about it, and he said he was tired, that he was ready. He said he missed his wife. They were married for 63 years. She died in 1991. He said there was to be a party at his house. He was so matter-of-fact. I went up there with my wife, Ruth. He was sitting in a wheel chair, looking very content. There were kids running around, and co-workers, family and friends eating and talking, having a good time. Not a tear in the house. Ham and I talked. It was like every other conversation we had ever had. He had such grace and dignity, such honesty. We shook hands, and said goodbye. I learned a lot from Ham, almost none of it about stringed instruments. What a man! I loved the guy. — Jonathon Peterson