Posted on June 6, 2024January 16, 2025 by Dale Phillips Questions: Nontropical Fingerboard Materials Questions: Nontropical Fingerboard Materials by Tom Theil Originally published in American Lutherie #96, 2008 See also, Questions: North American Wood by Mark French, Ned Steinberger, and Alan Carruth Tom Theil from Northwind Tonewood in Upper Sandwich, New Hampshire responds to Larry L.’s question in AL#94 about nontropical materials for fingerboards: As high quality exotic woods are becoming more precious, domestic alternatives become more viable. Fingerboard/bridge material must be hard, abrasion resistant, stable, and of similar pore structure, density, and (usually) color to traditional materials. Since every element of the instrument imparts its sonic signature, and the fingerboard and bridge are close to the vibrating string, their structural and resonance characteristics are quite important. These characteristics are measurable, but very subtle and include stiffness in all three grain directions, mass, and damping factor, plus stability and machinability for frets and inlay. You can select materials which mimic ebony, rosewood, or maple, the traditional woods of preference. Tests might include weight, feel under sandpaper, and the sound when knuckled, scratched, and bounced on its endgrain. Although only marginally scientific, these tests are amazingly accurate due to the ear-brain system’s ability to differentiate subtle information contained in the early onset transient of the sound. If it rings cleanly, it is clean. If it knocks like papier mâché, it’s dead. These characteristics become part of the instrument’s tone. 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 6, 2024January 17, 2025 by Dale Phillips Questions: Ossification of Guitar Soundboards Questions: Ossification of Guitar Soundboards by Benz Tschannen Originally published in American Lutherie #93, 2008 see also, Questions: Ossifying Wood by Rick Rubin Benz Tschannen from the Internet asks: Reading the “Secrets of Stradivari” by Sacconi, I wonder if anyone has experimented with using the “ossification” process described in the varnish chapter on a guitar top and with what results. Benz Tschannen from Fallon, NV provides an update to a question he asked in AL#89 about “ossification” of guitar soundboards: I did some experimenting: Two pieces of spruce and two pieces of cedar, ≈2"×4"×.10", washed one each with a solution of sodium silicate, the other with water. Let dry, then coated with two coats of shellac each. After a year the result is inconclusive. Sometimes the silicate pieces seem higher pitched, sometimes the water washed ones do. The big change is in color: the silicate turns the spruce yellow and the cedar a darker brown. I don’t want to find out what it does to the colors of the rosette, so I am abandoning this quest for now. ◆
Posted on August 1, 2022March 5, 2024 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 1, 2022March 5, 2024 by Dale Phillips Questions: Quartersawn Wood Questions: Quartersawn Wood by Alan Ollivant Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 John Forcade of Poulsbo, Washington asks: I have acquired six large maple rounds and would like to quartersaw them and let them dry out for a few years. They are about 45" long and 3' in diameter. I am not an experienced woodworker so I am looking for some specific directions on how to quartersaw. I would assume I am going to have to split the rounds into fourths by hand and then cut a board off one face, then cut the next board off the opposite face until each quarter is completely cut? Am I on the right track? Also, once I split each round open, how can I determine the quality of the maple? Am I going to be primarily looking for figure? If the wood is good and I keep it, how long should I let it dry before using it? Should it be kept in a controlled environment from day one? I also have some koa from the big island. What differentiates quality koa from average koa? 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 1, 2022March 5, 2024 by Dale Phillips Questions: Ebony Tailpiece Cracks Questions: Ebony Tailpiece Cracks by Ted Megas Originally published in American Lutherie #73, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Susan from cyberspace asks: I have a new custom-made archtop and the ebony tailpiece has developed a few very thin/small cracks. Should I use lemon oil on it? I have a humidifier in the room, but it seems impossible to keep the humidity at a constant level. Ted Megas of Portland, Oregon responds: I would be concerned that the structure of the tailpiece is undermined. A cracked tailpiece is potentially a very dangerous situation, since it’s under a lot of tension. I’ve even heard of tailpieces exploding. Lemon oil will neither fix the cracks nor prevent further cracking. You need to be in touch with the maker of the guitar or a reputable repairperson. 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.
