Posted on September 17, 2024September 18, 2024 by Dale Phillips Fall Collection 2024 Articles Online Fall Collection 2024 GAL Members – Login first before clicking on article titles to read the full articles. Not a 2024 member? You can join or renew here. Radiation from Lower Guitar Modes by Graham Caldersmith (1985) Caldersmith discusses the efficiency and pattern of sound radiation in the classic guitar produced by the four lower resonance modes, which he calls monopole, cross dipole, long dipole, and tripole. Inside Pacific Rim Tonewoods by Steve McMinn (1993) McMinn’s lutherie wood business has turned out to be a pretty big deal. Here we gain perspective by seeing it at the very beginning. The Great White Sitka by Jeffrey R. Elliott (1993) Holy Moby Spruce! How does one hack a log that’s eleven feet wide into 4000 guitar tops? Very carefully! By the way, this is a log that Steve McMinn rescued from the pulp mill. Meet the Maker: Bernard Millant by Jonathon Peterson (2006) Millant is a violin maker, a bow maker, an appraiser, an author, and a man of high repute within the violin world. The depth of training behind many old-school fiddle people will astonish most guitar makers, and it makes for entrancing reading. Meet the Maker: Dmitry Zhevlakov by Federico Sheppard (2007) This is not only the story of a Russian luthier who also makes beautiful rosettes for other builders, but is another example of how the Internet has changed the world — in this case for better. Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years by James Condino (2007) Every luthier knows how fickle and finicky the market is, so it’s no wonder that musical instruments made of aluminum didn’t catch on. Examined here are a violin, a mandolin, and a pair of bass viols. Fun stuff! Mechanical Compliance for Soundboard Optimization by David Hurd (2007) Hurd believes that the fastest way to great instruments is science, and it’s hard to argue with such a rational man. His jigs measure the deflection of top plates while under tension, and once he carves the top and braces to the numbers he wants, he’s done. This could be math heavy, but he offers an Internet spread sheet to ease the pain. Construction of the Colombian Tiple by Anamaria Paredes Garcia and R.M. Mottola (2007) Cross a 12-string flattop with a classical guitar and you get the Colombian tiple. The tiple has four courses of three steel strings, but on the inside, it’s a classical. Follow Alberto Paredes as he builds the instrument in this photo tour. See GAL Plan #51. Meet the Maker: Mervyn Davis by Rodney Stedall (2007) Davis’ South African upbringing inspires a wonderful decorative sense in his instruments. He’s built a ton of different stuff but may end up best known for his wildly unique modular guitars called Smooth Talkers. Cricket: A Reclaimed Salvage Recovery by James Condino (2007) Condino’s mandolin is made from recycled materials, mostly Douglas fir and katalox. It is unique and beautiful, and the story behind it is pretty cool, too. Grading on the Curves: Fitting Bars and Bridges on Archtop Guitars by Steve Andersen (2007) This is a very detailed look at how a notable builder of archtop guitars fits tone bars and bridges to his instruments. The Venezuelan Cuatro by Aquiles Torres (2008) Traditionally, this instrument is a small 4-string guitar with 14 frets clear, no frets over the body, a flush fretboard, and a large veneer tap plate. Note that the cuatro built for the article has 17 frets clear of the body. See GAL Plan #58. The MacRostie Mandolin Deflection Jig by Don MacRostie (2008) MacRostie’s clever jig measures the top deflection of a carved mandolin under string load at any stage of its construction. It is a valuable tool within the reach of any luthier. The “Corker” Guitar: A Sideport Experiment by Alan Carruth (2008) Carruth built a classical guitar with many small ports drilled in the side. By plugging the ports in various combinations he investigated the usefulness and physics behind them. Though this guitar did not make a believer out of him, he admits that his results are somewhat inconclusive. Electric Guitar Setup by Erick Coleman and Elliot John-Conry (2009) Two disciples of Dan Erlewine explain the latest techniques of setting up the electric guitar. All the details and specs are there, as well as a bit of philosophy. Dulcimer 101 by John Calkin (2009) Dulcimers are needlessly maligned and in need of advocates, and the author is a strong one. Tools and jiggery are kept to a minimum to make construction of this entry level instrument as accessible as possible. The Guitar as a Structure and Some Practical Information on Bracing by James Blilie (2009) A structural engineer and guitar builder sees the guitar as a thing buffeted by forces and stresses. Total Flame Out: Retopping a Harp Guitar by Harry Fleishman (2009) Harry replaces the failed soundboard on a complicated instrument with as little refinishing and other stress as possible. Strings: The (Often) Forgotten Accessory by Fan Tao (2010) D’Addario's resident scientist Fan Tao helps us understand string issues in relation to custom instruments and customized tuning. Practical Acoustics by Michael Cone (2010) Cone describes his advanced apparatus and method for acoustically testing classical guitars. Meet the Maker: James Ham by Roger Alan Skipper (2010) Ham operates from a shop in Victoria, B.C. where he repairs and restores violin family instruments and constructs world class double basses. It’s All About the Core or How to Estimate Compensation by Sjaak Elmendorp (2010) Mathematics and parameters used to address the problem of string compensation estimation. Articles Online Fall Collection 2024 Radiation from Lower Guitar Modes by Graham Caldersmith (1985) Caldersmith discusses the efficiency and pattern of sound radiation in the classic guitar produced by the four lower resonance modes, which he calls monopole, cross dipole, long dipole, and tripole. Inside Pacific Rim Tonewoods by Steve McMinn (1993) McMinn's lutherie wood business has turned out to be a pretty big deal. Here we gain perspective by seeing it at the very beginning. The Great White Sitka by Jeffrey R. Elliott (1993) Holy Moby Spruce! How does one hack a log that’s eleven feet wide into 4000 guitar tops? Very carefully! By the way, this is a log that Steve McMinn rescued from the pulp mill. Meet the Maker: Bernard Millant by Jonathon Peterson (2006) Millant is a violin maker, a bow maker, an appraiser, an author, and a man of high repute within the violin world. The depth of training behind many old-school fiddle people will astonish most guitar makers, and it makes for entrancing reading. Meet the Maker: Dmitry Zhevlakov by Federico Sheppard (2007) This is not only the story of a Russian luthier who also makes beautiful rosettes for other builders, but is another example of how the Internet has changed the world — in this case for better. Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years by James Condino (2007) Every luthier knows how fickle and finicky the market is, so it’s no wonder that musical instruments made of aluminum didn’t catch on. Examined here are a violin, a mandolin, and a pair of bass viols. Fun stuff! Mechanical Compliance for Soundboard Optimization by David Hurd (2007) Hurd believes that the fastest way to great instruments is science, and it’s hard to argue with such a rational man. His jigs measure the deflection of top plates while under tension, and once he carves the top and braces to the numbers he wants, he’s done. This could be math heavy, but he offers an Internet spread sheet to ease the pain. Construction of the Colombian Tiple by Anamaria Paredes Garcia and R.M. Mottola (2007) Cross a 12-string flattop with a classical guitar and you get the Colombian tiple. The tiple has four courses of three steel strings, but on the inside, it’s a classical. Follow Alberto Paredes as he builds the instrument in this photo tour. See GAL Plan #51. Meet the Maker: Mervyn Davis by Rodney Stedall (2007) Davis’ South African upbringing inspires a wonderful decorative sense in his instruments. He’s built a ton of different stuff but may end up best known for his wildly unique modular guitars called Smooth Talkers. Cricket: A Reclaimed Salvage Recovery by James Condino (2007) Condino’s mandolin is made from recycled materials, mostly Douglas fir and katalox. It is unique and beautiful, and the story behind it is pretty cool, too. Grading on the Curves: Fitting Bars and Bridges on Archtop Guitars by Steve Andersen (2007) This is a very detailed look at how a notable builder of archtop guitars fits tone bars and bridges to his instruments. The Venezuelan Cuatro by Aquiles Torres (2008) Traditionally, this instrument is a small 4-string guitar with 14 frets clear, no frets over the body, a flush fretboard, and a large veneer tap plate. Note that the cuatro built for the article has 17 frets clear of the body. See GAL Plan #58. The MacRostie Mandolin Deflection Jig by Don MacRostie (2008) MacRostie’s clever jig measures the top deflection of a carved mandolin under string load at any stage of its construction. It is a valuable tool within the reach of any luthier. The “Corker” Guitar: A Sideport Experiment by Alan Carruth (2008) Carruth built a classical guitar with many small ports drilled in the side. By plugging the ports in various combinations he investigated the usefulness and physics behind them. Though this guitar did not make a believer out of him, he admits that his results are somewhat inconclusive. Electric Guitar Setup by Erick Coleman and Elliot John-Conry (2009) Two disciples of Dan Erlewine explain the latest techniques of setting up the electric guitar. All the details and specs are there, as well as a bit of philosophy. Dulcimer 101 by John Calkin (2009) Dulcimers are needlessly maligned and in need of advocates, and the author is a strong one. Tools and jiggery are kept to a minimum to make construction of this entry level instrument as accessible as possible. The Guitar as a Structure and Some Practical Information on Bracing by James Blilie (2009) A structural engineer and guitar builder sees the guitar as a thing buffeted by forces and stresses. Total Flame Out: Retopping a Harp Guitar by Harry Fleishman (2009) Harry replaces the failed soundboard on a complicated instrument with as little refinishing and other stress as possible. Strings: The (Often) Forgotten Accessory by Fan Tao (2010) D'Addario's resident scientist Fan Tao helps us understand string issues in relation to custom instruments and customized tuning. Practical Acoustics by Michael Cone (2010) Cone describes his advanced apparatus and method for acoustically testing classical guitars. Meet the Maker: James Ham by Roger Alan Skipper (2010) Ham operates from a shop in Victoria, B.C. where he repairs and restores violin family instruments and constructs world class double basses. It’s All About the Core or How to Estimate Compensation by Sjaak Elmendorp (2010) Mathematics and parameters used to address the problem of string compensation estimation.
Posted on June 30, 2024September 17, 2024 by Dale Phillips Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years Aluminum Sonatas: A Brief History of Aluminum Stringed Instruments in the Last 120 Years by James Condino Originally published in American Lutherie #89, 2007 Over the last two decades I have had the fortunate circumstances to be able to spend my winters in the shop building instruments and my summers outside playing in some of the world’s great rivers and mountain ranges. In preparation for my second 300-mile river trip through the Grand Canyon of the Colorado River, we made plans to include a five-piece band. I searched for a 3/4-sized standup bass that would resonate through the halls of Redwall Cavern and yet withstand the carnage of Lava Falls and the river’s other huge rapids. After a lot of searching, I discovered that during the early part of the 20th century, several different manufacturers found fame in pursuit of making incredible string instruments of aluminum, and then faded into obscurity. The Paris world trade show of 1855 unveiled the first public display of a pure aluminum ingot. Within a decade the means to cheaply extract the pure metal by electricity had resulted in wide availability of aluminum and generated great interest in its potential uses. 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 30, 2024September 17, 2024 by Dale Phillips “Cricket”: A Reclaimed Salvage Recovery “Cricket”: A Reclaimed Salvage Recovery by James Condino Originally published in American Lutherie #90, 2007 A good friend of mine outside of Bend, Oregon has a wonderful old wood shop that has been in production since the 1940s, outliving several owners. The place is full of fantastic old machinery from the last hundred years. Big chrome badges with names like Walker Turner, Crescent, and Oliver are everywhere. Dusty billets and half logs of claro walnut, bigleaf maple, and figured myrtle, stacked decades ago, lie piled up in the back. Favored ebony and true Honduras mahogany boards are stashed in the ceiling rafters. The building itself has signs of constant evolution — false roofs, sealed-off rooms, and hidden treasures everywhere. Every few years, Doug calls me over to help knock out a wall or some similar project in the constant evolution of his floor plan. That is when I discover hidden gems from seventy years ago when Bend was a tiny little cowboy town that nobody had ever heard of. Old-growth Douglas fir trees covered the Cascades surrounding the high desert in such abundance that even your shop and garage were built from fine timbers: 30–40 even lines per inch, quartersawn, no runout, perfectly clear. After three quarters of a century seasoning in the arid climate, the stuff rings like a church bell when you tap it and splinters like fiberglass when you break it against the grain. 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 January 14, 2010March 7, 2024 by Dale Phillips Review: The Setup and Repair of the Double Bass for Optimum Sound by Chuck Traeger Review: The Setup and Repair of the Double Bass for Optimum Sound by Chuck Traeger Reviewed by James Condino Originally published in American Lutherie #84, 2005 and Big Red Book of American Lutherie Volume Five, 2008 The Setup and Repair of the Double Bass for Optimum Sound Chuck Traeger with David Brownell and William Merchant Henry Strobel ISBN 1-892210-06-1 www.henrystrobel.com Every once in a while a book comes along in a particular field that sets a new standard for future titles to strive for. Chuck Traeger’s The Setup and Repair of the Double Bass for Optimum Sound is one of those gems. As a regular gigging double-bass player and luthier, I have been waiting for this text since I first picked up the instrument. Failed neck joints, broken scrolls, huge moisture cracks, and the general wear and tear of dragging around a very fragile refrigerator-sized item are part of daily life for the bass player and repairman. Chuck Traeger, who is referred to as “the Mercedes-Benz of (bass) repairmen” by his longtime friend and customer Ron Carter, didn’t come upon this overnight. He made his first professional jazz recordings in 1945 and played the double bass for over twenty years prior to becoming a repairman who specializes in the bass. His customer base and writing cover both the jazz and classical sides of the instrument. Chuck is a trained civil engineer from Columbia University. As such, his approach is that “there is a reason for everything. I want people to think in a different way about... the instrument, its repair, and setup.” To him it is a specialized art. 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.
