Posted on July 1, 2022March 5, 2024 by Dale Phillips An Experimental Tenor Violin An Experimental Tenor Violin by Frederick C. Lyman, Jr. Originally published in American Lutherie #18, 1989 Building a musical instrument always involves making decisions. Even if the instrument is a familiar model that has been built many times before, the actual pieces of wood are unique, and require unique treatment. Obtaining predictable results, even such as might appear to be instances of mere routine uniformity, usually requires a surprising degree of conscious, intelligent control. In respect to quality of sound, the more an instrument is produced by an invariable automated process, the more variable and inconsistent may be the result. That is because we are dealing with subtle differences which add up. The more intelligence that can be applied to the many decisions that have to be made, the better the cumulative result can be. Of course, wrong decisions can also be made. This can happen easily when the project being undertaken is one-of-a-kind, where the lessons of past mistakes cannot be applied to the problems. 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 March 4, 2022March 5, 2024 by Dale Phillips The Piccolo Bass The Piccolo Bass by Frederick C. Lyman, Jr. Originally published in Guild of American Luthiers Quarterly, Volume 8 ,#1, 1980 In the last ten or fifteen years there has been a virtual explosion of interest in the string bass. Many bassists now use their instruments in ways that were hardly thought of just a few years ago. Especially, solo playing employing the extreme upper register of the bass is a prominent technique among soloists in the classical and jazz fields. Modern string technology permits a brilliance, solidity, and assurance of sound in this register that was hard to obtain previously. Electronic means of recording and amplification have brought the sounds closer to the consciousness of a large audience. Most existing basses, build in other eras for other not necessarily good( reasons, are not much help to the skilled and ambitious player of today. They are hard to play and hard to hear, except in the limited roles they were designed to fulfill. This situation suggested a new instrument which would fill the large gap between the bass and the ‘cello’ and which could be used in the melodic register but with the tonal density of the bass rather than the thinner sound of the ‘cello. I think many people had this idea, and of course we know of Mr. Hutchins’ work which approached the problem from a scientific direction. However, I had never seen a small bass that had the musical properties which were needed. 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 December 21, 2021March 5, 2024 by Dale Phillips Restoring a “Church Bass” Restoring a “Church Bass” by Frederick C. Lyman Originally published in American Lutherie #98, 2009 “Restoration” is not really a good term for what is done by luthiers who work on old bass fiddles. They are trying to create an instrument that has not existed before, using pieces that give it historical continuity and prestige. Connection with the past, recent or distant, is important to musicians. Having an instrument that can be connected to a previous musical era seems to do a lot to build a player’s confidence and help him or her form a conception of music-to-be. So given an old instrument that needs a lot of work to be playable, the repairman tries to keep in mind the continuing identity of that particular fiddle. It must seem that there is an unbroken link between what was in the mind of the original creator, and the present-day sound. If this is an illusion, that may be better yet, as we are already in a realm of rampant subjectivity. 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 11, 2021March 6, 2024 by Dale Phillips Bass Crate Bass Crate by Frederick C. Lyman, Jr. Originally published in Guild of American Luthiers Data Sheet #273, 1984 and Big Red Book of American Lutherie Volume One, 2000 Shipping a bass is always a problem because of the size and fragility of the instrument. I’ve had to do this several times and have built crates which did the job in every instance. It’s not my favorite task; I would rather build basses. Sometimes it would probably be best to buy or rent one of the bass trunks that several firms advertise. If you transport your bass a lot, this would be a good (if substantial) investment. But noooo... you’re going to build one yourself. My methods are not the only possible ones and I can’t guarantee that they are the best for you; only that, for me, they worked and the bass came through unharmed. Use plywood framed with strips of solid wood. If the framing is on the outside, the crate will be easier to grab. The plywood should be free of skips or voids in the inner plies which you can spot by looking at the edge. Imported lauan plywood (the stuff that looks like mahogany) is pretty good in this respect. You could use 1/4 " or thicker. For greatest economy, you could find some wall paneling that is scuffed or chipped, for a couple of dollars a sheet. You don’t want this box to be too heavy to handle, but if it is going by air freight (I have found United to be helpful and considerate) you will be paying more for the cubic volume than for the weight. In this instance you would not necessarily save by using thinner materials. For framing, I suggest what is known as 5/4 "×3 ", which actually measures about 1 "×2 1/2 ". Pick out straight pieces with few knots. (Yes, it’s OK if there aren’t any knots at all.) 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 December 27, 2020March 6, 2024 by Dale Phillips Bass String Choices Bass String Choices by Frederick C. Lyman, Jr. Originally published in American Lutherie #5, 1986 and Big Red Book of American Lutherie, Volume One, 2000 Fifty years ago, basses had gut strings, usually the top two plain gut and the lower two wound with wire. Whatever techniques a bassist wished to learn, classical, jazz, or the various folk/ethnic categories, they had to be within the limited possibilities afforded by this kind of string. Gut strings were at their best in the deep background tones of a symphonic bass section because they had a strong, true fundamental that stayed back where it belonged. Plucked, they had a punchy jazz rhythm sound in the lower and middle register, sometimes producing a delayed response that was known popularly as the “walking” effect. For solos of any sort, the range was limited because the high notes were feeble and uncentered. The first steel strings for bass, with a solid wire core, were stiff and had a harsh, metallic sound. But improved strings were developed with flexible, stranded cores and multiple windings. These were developed along the lines of two different design philosophies, and musicians had to choose between them. 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.
