Posted on July 8, 2024May 14, 2025 by Dale Phillips Heat Pressing Heat Pressing by Leo Bidne Originally published as Guild of American Luthiers Data Sheet #43, 1977 Heat pressing is the art of forming wood to a new and permanent shape with heat and pressure. With practice, it is an effective method of action adjustment when extreme measures are necessary; when time or poor construction methods develop a problem, has a fair idea of what a “good” action is, and is familiar with such terms as “action”, “buzzing”, “truss rod”, and the numbering system of frets, etc. The term “buzzing” assumes that the string is plucked moderately hard. Applied to guitars, the art of heat pressing is to create the optimum neck shape for a fretted, plucked string. This means a buzz-free, even action over the entire length of the fretboard. Part One explains what that neck shape is, clears up some of the fallacies and old wives’ tales on the subject, and points out some common neck problems. The Bow Basically, a plucked string travels in a bow, like this: Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on June 13, 2024May 15, 2025 by Dale Phillips A Future Fable A Future Fable by Leo Bidne Originally published in Guild of American Luthiers Quarterly, Volume 9, #1, 1981 A bell softly chimed. The girl and her guitar sank back into the practice stool, letting out a sigh. Six hours! I must really be worried about performing tomorrow, she thought. “What’s wrong Sandy?” asked Martin. “Why did you stop? You were doing very well.” “Nothing. Just tired.” She put down her guitar and slid off the stool. Her naked feet made a soft thud on the padded deck. She punched in her room code and ordered up breakfast. What am I doing here, she asked herself. Three boring hours on a smelly, bumpy shuttle cruiser, watching some old flat-screen epic called Star something. A-lock customs, then a transfer bus to this crummy hotel. Even the service buttons stick! She banged her fist on the console. 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 Guitar Outline Formula Guitar Outline Formula by Leo Bidne Originally published in Guild of American Luthiers Data Sheet #79, 1978 From taking several measurements of various guitars, I’ve discovered only slight differences from one to the next. These differences seem to contribute very little to the finished sound. The question is, what is the reason for making a guitar the shape that it is? What are the determining factors, besides the obvious ones? Can there be a “formula” that produces an “ideal” outline? This is what I set out to find. What I came up with, rather independently, so closely resembles, at least in dimension, the existing standard outline of the classic guitar as introduced by Torres, that I wonder if a similar technique may have been in use in the past, in some modified form. This formula, based on the string length, may be of no use to acoustical science, but it’s as fun as a math game, and twice as surprising. Although the information below describes how to derive an outline for a classic guitar with a string length of 65CM, joining the body at the 12th fret, it can also be used, with slight modifications, for other instruments, such as the flattop, the acoustic bass, the electric guitar, etc. Once the outline is established, the depth of the sound cavity can be adjusted with the sides, helping to establish the instruments sonority, as well as adjusting the soundboard bracing. 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 7, 2010May 19, 2025 by Dale Phillips Review: Guitar Repair “A Manual of Repair for Guitars and Fretted Instruments” by Irving Sloane Review: Guitar Repair “A Manual of Repair for Guitars and Fretted Instruments” by Irving Sloane Reviewed by Leo L. Bidne Originally published in Guild of American Luthiers Newsletter Volume 2 #2, 1974 Guitar Repair “A Manual of Repair for Guitars and Fretted Instruments” Irving Sloane 1973; 95pp. $8.95 postpaid from; E.P. Dutton 201 Park Avenue New York, NY 10003 This book should have been written years ago. It would have saved us all the trouble of figuring out these techniques ourselves, and given us more time to develop our Art. Compiled with the C.F. Martin Organization, Mr. Sloane’s book deals in all facets of repairing acoustic guitars, including what to do with: 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.
