Posted on January 9, 2010May 26, 2025 by Dale Phillips Letter: Engelmann Spruce Letter: Engelmann Spruce by Jan E. Callister Previously published in American Lutherie #53, 1998 Dear Tim: Just a few comments on Don Musser’s interesting article, “Rocky Mountain Tonewood Alternatives” in AL#51. Years ago when I was cutting Engelmann spruce and trying to market it for soundboards, I often found large logs of Colorado blue spruce (Picea pungens) in the yards of logging mills. These trees were called “swamp” spruce by the local loggers since the trees apparently grow in high meadows with an abundance of water. I found the annual rings to be much too wide for guitar soundboards. I have since been told that this may not be a problem for luthiers who build cello or bass viol. Don Musser probably has a much better chance of finding ideal blue spruce in Colorado where blue spruce is much more abundant than in Utah. 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 6, 2010May 16, 2025 by Dale Phillips Review: Identifying Wood: Accurate Results With Simple Tools by R. Bruce Hoadley Review: Identifying Wood: Accurate Results With Simple Tools by R. Bruce Hoadley Reviewed by Nicholas Von Robison Originally published in American Lutherie #29, 1992 and Big Red Book of American Lutherie Volume Three, 2004 Identifying Wood: Accurate Results With Simple Tools R. Bruce Hoadley Taunton Press, 1991. 224 pp. ISBN 0-942391-04-7 Can’t tell the difference between... uh... spruce and Shineola? Hope that batch of Picea excelsa you paid a small fortune for really isn’t Pinus attenuata or something similar? In times past, wood identification has been the weak spot in most luthier’s knowledge simply because the ID methods available have not been user-friendly. Dr. Hoadley has made a valiant effort to remedy this problem and I think has succeeded very well in his hybrid approach to wood identification. Of the old methods, one approach involves trying to match an unknown wood with a photograph or a veneer sample. The futility of this approach is obvious unless you are a rank amateur trying to determine whether a sample is walnut or zebrawood. The other method, usually presented in texts for professionals, involves a thorough understanding of wood structure, formation, chemistry, and so on. The ID process is accomplished by the use of dichotomous keys — this type of key presenting a series of choices, each choice involving only two possibilities. While this method can be highly accurate if you know your wood stuff, making a wrong choice or misinterpretation anywhere during the keying process can throw you wildly off the track. 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 3, 2010May 20, 2025 by Dale Phillips Out of the Basement Out of the Basement by Richard Bingham Originally published in American Lutherie #7, 1986 and The Big Red Book of American Lutherie, Volume 1, 2000 See also, “H.L. Wild” by Paul Wyszkowski “A Scene from Dickens” by Steve Curtin About five years ago, when I was in the middle of my second C.F. Martin guitar “kit,” (thanks to Dick Boak, who saw me through this madness and was very generous in fitting it out), a good friend of mine who moves houses and buildings for a living presented me with one of his “finds.” It was a cardboard carton with variously-sized pieces of wood; bookmatched slabs of spruce and maple, very rough and indifferent looking pieces of ebony, a few sticks of bass wood, and a rather gaudy rosette glued to a piece of tag-board. The materials were noted on a slip of yellow paper printed by a spirit-duplicator and checked off in pencil, and dated May 12, 1964. The label told that the contents were from “H.L. Wild, New York City.” Apparently the “kit” was too much for the party who requested 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 3, 2010May 20, 2025 by Dale Phillips A Scene from Dickens A Scene from Dickens by Steve Curtin Originally published in American Lutherie #7, 1986 and The Big Red Book of American Lutherie, Volume 1, 2000 See also, “H.L. Wild” by Paul Wyszkowski “Out of the Basement” by Richard Bingham I suppose the seeds of the notion to build an instrument were planted in many of us in The Last Whole Earth Catalog, from which I learned of this fabulous establishment on Manhattan's Lower East Side. I think I planned to build some dulcimers first, and embarked by train and subway for the place. This was 1974. Great neighborhood! Inside, I was greeted by a scene out of Dickens. The light through the unwashed windows and dust was poetic in the best cinematic style. Unfamiliar woods were everywhere, strewn in chaos. Light barely penetrated the rear of the shop. 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 2, 2010March 11, 2024 by Dale Phillips Sharpening the Stellite Teeth on the 3″ Hitachi Blade Sharpening the Stellite Teeth on the 3" Hitachi Blade by Bruce Creps previously published in American Lutherie #91, 2007 See also, “Resawing Lutherie Wood” by Bruce Creps “Grading and Curing Lumber” by Bruce Creps With a shop-made jig you can sharpen your blade in place in less time than it takes to remove and reinstall it. You save money, conserve steel, and don’t need to fuss with fine-tuning a newly installed blade. I sharpen blades ten times, making my “cost per blade” under $13. I discard the blade after that because I have found cracks on a few blades after 12–15 sharpenings, and because the Stellite teeth taper in width so you lose set when you sharpen the teeth down to nubs. With insufficient set a band can rub the stock and heat up or wander. The blade will generally stay sharp for eight hours of production sawing of dry hardwood. I don’t go much beyond eight hours because a less-than-sharp blade may heat up and work harden the Stellite tips. The all-Stellite blade has a cutting (rake) angle of 22°, a sharpness angle of 50°, and a back (clearance) angle of 18°. For my purposes this blade is just right. I once used an alternate-tooth Stellite blade and got better performance when I increased its cutting angle from 16° to 22°. Otherwise I have not experimented with tooth geometry. 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.
