Posted on July 15, 2024August 8, 2024 by Dale Phillips Letter: How the GAL Got Started Letters and more from our readers Originally published in American Lutherie #152, July 2024 Tim — In 1946 I entered the 7th grade, which was then known as junior high school. It was an OK experience, but it was made particularly interesting by an activity called “Industrial Arts.” I had a fine instructor who taught us […] To access this post, you must purchase Guild Membership – United States, 2024 + 2025, Guild Membership – Canada, 2024 + 2025, Guild Membership – Outside U.S. and Canada, 2024 + 2025 or Guild Membership – Outside U.S. and Canada, 2024 + 2025 Digital Only.
Posted on June 6, 2024January 17, 2025 by Dale Phillips Letter: Side Soundhole Guitar Letter: Side Soundhole Guitar by Marc Connelly Originally published in American Lutherie #93, 2008 Dear GAL Family, Thank you Cyndy Burton for the exploration of side-ported instruments. It was a terrific affirmation for this most interesting fenestration option. Like Mr. Montelone, at some point I laid my head on the side of my old Martin, strummed, and wondered how to get more of that big wood and bronze sound into my face. I started experimenting with a “side hole” variant, and it changed the way I think about what I am doing — not because it was “better,” but because it was clearly different in a thought-provoking way. In fact, this exercise has finally purged the word “better” from my lutherie vocabulary, and that’s a good thing. My side-hole instruments (which I call “Atlas”) are from the same plantilla as my front-hole models, so I can make some general comparisons. At first, the Atlas models seemed a bit too percussive and weighted toward the bass. So I made some small modifications in the way I tune the box and tamed the bass. The percussive nature of these guitars is simply a component of getting a more direct blast of wavy air into the player’s face. I have come to like this. Several Atlas owners have agreed it has an appeal and have readily adapted to it. But a truly freakazoid experience is to stick your left ear in the hole and play! There isn’t a prewar D-45 on the planet that sounds like that! Until I read Montelone’s article, I never even considered the possibility of weakening the side. What was I (not) thinking! None have folded up, but future Atlas models will have some consideration for this possibility. Fusion jazz player Don Mock owns an Atlas and loves it. Don enjoys having people ask “What’s that?!” Of the folks who play my guitars with some interest in commissioning one, the Atlas is always the first off the rack. But guitar players are an amazingly conservative lot, I find. Selling a side-hole guitar is like selling a blonde guitar. You are either open to them or you are not. It is personally rewarding to watch the tug of war between the conventional and the unconventional. ◆ Photo by Marc Connelly.
Posted on January 6, 2010March 11, 2024 by Dale Phillips Review: Setar Construction, An Iranian Musical Instrument by Nasser Shirazi Review: Setar Construction, An Iranian Musical Instrument by Nasser Shirazi Reviewed by Marc Connelly Originally published in American Lutherie #77, 2004 Setar Construction, An Iranian Musical Instrument Nasser Shirazi Berkeley, CA, 2001 For those of you who wish to build an Iranian setar, it would be hard to imagine a finer, more complete text than that presented here by Mr. Shirazi. But if you confuse the setar with the more widely known Indian sitar, you would be in for a surprise. The setar is an ancient Iranian instrument whose variants and descendents have populated string bands throughout the Middle East and Africa for thousands of years. This long-necked, fretted, 3- or 4-stringed instrument with a gourd-shaped soundbox is played with a strumming motion by the index finger, either in traditional Iranian ensembles or as a solo instrument. For lute makers, Neapolitan mandolin makers, bouzouki makers, and luthiers interested in gourd-shaped soundbox construction (or even using gourds themselves), there are some nifty construction tips to be had here. As I find myself spending too much time considering and reconsidering the relationship between the size of soundboxes and relative soundhole size and placement, I am intrigued by the traditional decisions that the great setar makers made in this regard. Mr. Shirazi’s personal investment in research of this instrument enabled him to include the dimensions of setar examples from three of the most important Iranian master setar builders. Yep, that’s in there too, along with a full-sized drawing of the soundbox staves, accurate drawings of all the important shapes, and photographs detailing key construction steps, including jigs and molds. Great attention is paid to construction details. The smallest point is addressed thoroughly and concisely. Each step of Setar Construction has been organized by a highly refined mind. 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.
