Posted on June 6, 2024May 23, 2025 by Dale Phillips Questions: Ossifying Wood Questions: Ossifying Wood by Rick Rubin Originally published in American Lutherie #95, 2008 see also, Questions: Ossification of Guitar Soundboards by Benz Tschannen Rick Rubin from Spokane, Washington responds to Benz Tschannen’s question in AL #89 and AL #93 on the use of sodium silicate, aka water glass, for ossifying wood: I’d refer you to the article I wrote in 1990 (Big Red Book of American Lutherie Volume Two, p. 362). Save yourself the grief: sodium silicate is very destructive to your tops. I was glad to hear that you’d just been experimenting on samples and not on an instrument yet.
Posted on March 6, 2024May 14, 2025 by Dale Phillips Building the Kamanché Building the Kamanché by Nasser Shirazi Originally published in American Lutherie #4, 1985 and Big Red Book of American Lutherie Volume One, 2000 The word kamanché in the Persian language (Farsi) means “small bow.” This instrument, with varying shape, size, and material, is widely used in Middle Eastern countries. The kamanché described in this article is modeled after the Persian (Iranian) instrument. The kamanché is a very old instrument and possibly dates back as much as 1500–2000 years, being another form of the ancient Indian ravanstron. In 1418 A.D. Ben Abd-ul-Cadir wrote a treatise (the manuscript of which is in the University of Leyden) which shows that its existence today has changed little since that time. A 16th-century Iranian miniature painting in the Khamza of the poet Nizami shows a kamanché very similar to the one described below. Various early European travelers to Iran have described it also. Among these are Sir W. Ouseley in 1819,1 and Sir Percy M. Sykes.2 Sykes describes a kamanché in Khorasan, an eastern province of Iran, as follows: “...made of walnut wood. The total length is 37", with fingerboard 9" in length. The instrument is handled like a violoncello; but in shape resembles a mandolin with a long spike of worked iron. The belly is constructed from a pumpkin covered with parchment and mounted with stripes of bone radiating from a turquoise. The neck is pierced on each side with three holes, and with a hollow at the back, 3" in length; there are three wire strings and six pegs, three of which are dummies. The bow resembles our double-bass bows and is 22" in length; it is made of gypchin wood and has a strap and a loop with which to tighten the horsehair. To complete the equipment, a bit of beeswax is tied on to serve as rosin.” 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 August 1, 2022May 19, 2025 by Dale Phillips Intro to P.E.G. Intro to P.E.G. by H.E. Huttig Originally published in Guild of American Luthiers Data Sheet #35, 1976 This is an abstract of an article written by Mr. H.L. Mitchell, retired Chief of the former Division of Wood Quality Research, Forest Products Laboratory, U.S. Dept. of Agriculture. Not all material contained may be useful to luthiers. I leave it to the individuals to choose such things as they may wish to try and to apply to instrument building. Wood is an exceedingly complex and variable material. You will know that wood shrinks and swells with changes in atmospheric moisture. This plus problems of checking, splitting, warp, and broken glue joints are all too familiar to you. Treatment with PEG (Polyethylene glycol–1000) greatly improves the dimensional stability of wood and eliminates many of the problems. 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 August 1, 2022May 20, 2025 by Dale Phillips Wood Salvaging Down Under Wood Salvaging Down Under by Des Anthony Originally published in Guild of American Luthiers Quarterly, Volume 6 #2, 1978 and Lutherie Woods and Steel String Guitars, 1998 Woodstock. No, not that Woodstock, but a one-shop, no-houses Woodstock in North Queensland, Australia. At last the moment had arrived. It was a typical hot summer’s day and I was armed with the necessary tools. There was still that feeling of uncertainty in my mind that what I was to do was totally criminal. Sharing the shed with the ’dozers and tractors was an old upright Victor piano. Nobody wanted it anymore so I was able to carry out my plan. At home, our towns usually have a festival each year, and in that festival procession there is always an old car whereupon, for a fee, you may smash with a sledge hammer. Well, I wasn’t in that kind of mood, but I was still going to reduce this piano to an unrecognizable mess, but, I hope with a more dignified ending. 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 July 8, 2022May 20, 2025 by Dale Phillips Our Great Spherical Friend, Part One Our Great Spherical Friend, Part One by Frederick C. Lyman, Jr. Originally published in American Lutherie #6, 1986 and Big Red Book of American Lutherie Volume One, 2000 See also, Our Great Spherical Friend, Part Two by Frederick C. Lyman, Jr. Our Great Spherical Friend, Part Three by Frederick C. Lyman, Jr. Improving the Plywood Bass by Frederick C. Lyman, Jr. We are referring to the cloud of gases, still largely beneficent, that surrounds our planet. This immense mass must be immensely and massively frustrated. Because, while it constantly tries to find a state of peaceful repose and equilibrium, it is just as constantly subjected to agitation by forces large and small. The earth whirls beneath it, the sun warms it on one side at a time, various objects in space tug at it, and innumerable minor annoyances are inflicted upon it by the residents of Earth. By far the worst of the minor offenders are the members of the human race, who should really be more grateful to their spherical friend. Instead, they have craftily discerned that the atmosphere that surrounds them is indeed indefatigable in its effort to reach an equilibrous state. With fiendish zeal they have invented devices for the sole purpose of agitating their friend. Some of these torture implements are known as “musical instruments” and are accorded a special reverence by those who create and use them (some of whom, however perversely, even banding together in special societies to promote these activities). 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.
