Web Extras American Lutherie #86 - Summer 2006 Page 6 - Arched Plate Carving, Part Three by Chris Burt Here are color versions of several of the photos: Splitting brace wood with the grain. Planing the bar flat. Trimming the bar end. Drawing bridge position. Marking the bar location. Tracing the arching onto the bar. Refining the fit of the bar. Cleats stabilize the bar. Examine the joint. Clamping the bar. Mark bar heights. Taper the bar sides. Page 18 - Meet the Maker: Bernard Millant by Jonathon Peterson Amédée Dieudonné's workshop in Mirecourt in May of 1946. From Left to right: Amédée, Eugene Guinot, Jean Eulry, Marcel Thomassiu (foreground), and Michel Lotte, son of bow maker François Lotte. Bernard Millant spent two and a half years studying violin making in the Dieudonné shop. The Morizot brothers' workshop in Mirecourt in May of 1948. Back row, from the left: Brothers Marcel, Louis, Paul, André, and George Morizot. Front row, left, is a young Bernard Millant. The other young man is Louis Morizot's son. A Sunday in New York, March 1949. Jacques Français, who was to become a world renown violin expert, is behind the wheel of this sharp 1941 Buick convertible. Accompanying Jacques are his daughter, and Bernard Millant. Bernard making a violin at the Moscow USSR National Exhibition. This photo did not appear in the magazine. Bernard steps out of his Paris shop in 1989 to get some natural light. “In the back room with my desk, 1995.” This photo did not appear in the magazine. Bernard Millant at the 2004 Violin Society of America meeting in Portland Oregon. Page 24 - Modern Approaches to Adjustable Neck Joints by Harry Fleishman and Mike Doolin The hardware parts used in Mike Doolin's adjustable neck joint. Here's the surface of the neck block that will be visible from the inside of the guitar box. And this is the neck-side surface. This photo shows how the block fits into the sides and the side braces. Here is the neck tenon. The rough neck and block assembled. Top view. The rough neck and block assembled. Side view. Since the article was published, Mike Doolin has moved the adjustment screw from the interior of the guitar to the back of the heel for easier access. Here's the new look. See Mike Doolin’s web site. Here some shots of Harry Fleishman’s version of the adjustable neck. None of these appeared in the magazine. The heel end of the neck. (image 1 of 3) The heel end of the neck. (image 2 of 3) The heel end of the neck. (image 3 of 3) The neck end of the body. Interior of the body, showing the bolts in the heel block. See Harry Fleishman’s web site. Page 32 - Meet the Maker: Carleen Hutchins by Alan Carruth Carleen poses with a bass mold. Violinist Chien Tan compares a treble violin (right) with a standard violin. See the web site of the New Violin Family Association. Author Al Carruth’s web site. Page 42 - Alternative Headstock Decoration and Truss Rod Adjustment Access by R.M. Mottola Transfering a laser printed image directly to the wood of the back. (image 1 of 2) Transfering a laser printed image directly to the wood of the back. (image 2 of 2) Thomas Coughlin's wild marquetry designs. (image 1 of 4) Thomas Coughlin's wild marquetry designs. (image 2 of 4) Thomas Coughlin's wild marquetry designs. (image 3 of 4) Thomas Coughlin's wild marquetry designs. (image 4 of 4) Mottola headstock engraved by desktop CNC. (image 1 of 3) Mottola headstock engraved by desktop CNC. (image 2 of 3) Mottola headstock engraved by desktop CNC. (image 3 of 3) Peghead and rosette by Adrian Lucas. (image 1 of 3) Peghead and rosette by Adrian Lucas. (image 2 of 3) Peghead and rosette by Adrian Lucas. (image 3 of 3) Author R.M. Mottola’s informative web site. Page 48 - Seeking the Top by Michael Sanden Here are four shots that appeared in the magazine. But they are so much better in color. (image 1 of 4) Here are four shots that appeared in the magazine. But they are so much better in color. (image 2 of 4) Here are four shots that appeared in the magazine. But they are so much better in color. (image 3 of 4) Here are four shots that appeared in the magazine. But they are so much better in color. (image 4 of 4) Here's one that did not appear in the magazine. Michael visits a real "log house," that is, a house made of a single hollow log. Page 50 - A Flattop Mandolin Resurrection by John Calkin Before. Braces removed. New braces. The back. (image 1 of 2) The back. (image 2 of 2) All better. Page 54 - Puerto Rican Tiple Conference by Fred Casey Here's Paulo De Souza and Richard Roberge playing Brazilian Cavaquinhos. Some young pros jamming at the tiple conference. Author Fred Casey (right) plays the travel guitar he built for the conference while Edwin Colon Zayas plays a tiple. A tiple doliente with two tiples requinto. Fred and his wife Kate Ferris pose with a spectacular tiple float. Page 62 - Product Reviews by James Condino Three photos of one-handed players of string instruments. They didn't have SawStop. (image 1 of 3) Three photos of one-handed players of string instruments. They didn't have SawStop. (image 2 of 3) Three photos of one-handed players of string instruments. They didn't have SawStop. (image 3 of 3) Two views of an aluminum pawl after it has been fired to stop the blade. (image 1 of 2) Two views of an aluminum pawl after it has been fired to stop the blade. (image 2 of 2) See the Sawstop web page.
