Web Extras American Lutherie #116 - Winter 2013 Page 6 - Beyond the Rule of 18: Intonation for the 21st Century from their 2011 GAL Convention lecture by Gary Magliari and Don MacRostie During the course of his investigation, Gary Magliari has run across some useful tips that he has graciously asked us to share with anyone that wants to try his method out. Hollowbody instruments with a fixed, glued-on bridge often bend a little when the strings are brought up to full tension. The distance between the nut and saddle can shorten about .020". The pre-tension and post-tension distances should be checked and appropriate adjustments made to the saddle slot position. It appears that this distance reduction occurs mostly in the body. If it becomes necessary to adjust intonation after completion, small adjustments can be performed entirely with saddle offsets. However, it would be better to split the required distance equally between the nut and saddle. For example, assume that the saddle needs to be reajusted .030" toward the tail of the guitar. It would be better to shift both the nut and saddle .015" towards the tail. Anyone that has attempted to take readings from fretted strings using an electronic or software-based tuner has undoubtedly had problems getting stable readings. Often these problems are worse at particular frequencies or neck positions. This is due to sympathetic resonances, standing waves, and other frequency-induced anomolies. Targeting a harmonic instead of the fundamental will often alleviate these issues. Targeting the first overtone (2nd partial) has produced more accurate readings. As an example, suppose a reading of the A string (110 Hz) is desired. Set the tuner at A3 (220 Hz) even though the open A string will be plucked. The tuner will report a reading of the 220 Hz first overtone with much cleaner results. The inharmonicities are too small to be of concern. Don MacRostie: Tension-Compensated Fret Intervals (pdf) Gary Magliari: Positioning Musical Instrument Frets That Compensate for Fretting-Induced String Tension (pdf) Page 16 - Meet the Maker: William Eaton by Tom Harper John Roberts back in the day. (image 1 of 2) John Roberts back in the day. (image 2 of 2) The Roberto-Venn school in the early 1970s. (image 1 of 4) The Roberto-Venn school in the early 1970s. (image 2 of 4) The Roberto-Venn school in the early 1970s. (image 3 of 4) The Roberto-Venn school in the early 1970s. (image 4 of 4) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 1 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 2 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 3 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 4 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 5 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 6 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 7 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 8 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 9 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 10 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 11 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 12 of 13) The Roberto-Venn school in 2002. Photos by Hap Newsom. (image 13 of 13) William Eaton supervises Roberto-Venn students making an electric harp guitar of his design, 2002. (image 1 of 3) William Eaton supervises Roberto-Venn students making an electric harp guitar of his design, 2002. (image 2 of 3) William Eaton supervises Roberto-Venn students making an electric harp guitar of his design, 2002. (image 3 of 3) Detail of Spiral Clef. The Tree Harp. Harp guitars at the 1998 GAL Convention. Left: John Doan with Sullivan-Elliott instrument. Right: William Eaton with a harp guitar that he designed and built. Eaton with another early harp guitar. Three views of a recent Eaton double neck harp guitar with Transperformance tuning system. (image 1 of 3) Three views of a recent Eaton double neck harp guitar with Transperformance tuning system. (image 2 of 3) Three views of a recent Eaton double neck harp guitar with Transperformance tuning system. (image 3 of 3) Page 34 - The New England Luthiers’ OM Collaborative Build by Don Boivin Mike McCarten. (image 1 of 4) Mike McCarten. (image 2 of 4) Mike McCarten. (image 3 of 4) Mike McCarten. (image 4 of 4) Don Boivin. Trevor Healy makes a bridge. (image 1 of 9) Trevor Healy makes a bridge. (image 2 of 9) Trevor Healy makes a bridge. (image 3 of 9) Trevor Healy makes a bridge. (image 4 of 9) Trevor Healy makes a bridge. (image 5 of 9) Trevor Healy makes a bridge. (image 6 of 9) Trevor Healy makes a bridge. (image 7 of 9) Trevor Healy makes a bridge. (image 8 of 9) Trevor Healy makes a bridge. (image 9 of 9) Craig Sullivan. (image 1 of 4) Craig Sullivan. (image 2 of 4) Craig Sullivan. (image 3 of 4) Craig Sullivan. (image 4 of 4) Fran LaMalva. (image 1 of 8) Fran LaMalva. (image 2 of 8) Fran LaMalva. (image 3 of 8) Fran LaMalva. (image 4 of 8) Fran LaMalva. (image 5 of 8) Fran LaMalva. (image 6 of 8) Fran LaMalva. (image 7 of 8) Fran LaMalva. (image 8 of 8) Paul Buck plays a guitar by Mike Mahar. Jim Kelly plays a guitar by Tom Knatt. Adam Bahrami (left) with LaMalva OM, and Fran LaMalva with RM Motolla classical. NEL meeting. Sam Moss (right) is the player. Raymond Gonzalez. Shop talk. (image 1 of 2) Shop talk. (image 2 of 2) Page 42 - Meet the Maker: Tom Cussen by Rick Rubin Tom Cussen (left) with author rick Rubin. Sean prepares to bind resonators. Tom tests a neck with the moisture meter. Machines in the Cussen shop. The drum sander fits necks to the curve of the rim. (image 1 of 3) Machines in the Cussen shop. The drum sander fits necks to the curve of the rim. (image 2 of 3) Machines in the Cussen shop. The drum sander fits necks to the curve of the rim. (image 3 of 3)