Posted on December 16, 2024December 16, 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 July 8, 2024October 1, 2024 by Dale Phillips Parametric Solid Modeling Software for Stringed Instrument Design Parametric Solid Modeling Software for Stringed Instrument Design by R.M. Mottola Originally published in American Lutherie #87, 2006 Most folks are awed when first witnessing a Computer Numerical Control (CNC) machine shaping an instrument part. Since such a demonstration makes the advantages of using this technology immediately obvious, a number of people look into acquiring these tools for their own use. A substantial portion quickly loses interest when finding out the depth of complexity of the tools needed to design and build in this manner. Computer Aided Design (CAD) software must be mastered in order to draw the parts. Computer Aided Manufacturing (CAM) software must be mastered in order to specify how the drawings will be utilized in the machining process and to control the CNC machine. And the details of the CNC machine itself must be comprehended before real work can be performed. All of this conspires to lead all but the highly technical and/or highly motivated to the conclusion that these technologies need to be made a lot simpler and more accessible before they can be widely exploited in the industry. Adaptation and use of these technologies can be considered analogous to that of the automobile. When first introduced, the car was something only accessible to those who could understand all of the details of the machine (and repair all the parts, too), but eventually it evolved into a more commodity-like device that is usable with little or no knowledge of its inner workings. This article is an introduction to Parametric Solid Modeling (PSM), an existing second-generation CAD technology that offers potential to bring the benefits of CAD/CAM/CNC to a wider user base. A comprehensive library of parametric models of instrument parts and subassemblies could go a long way toward making these technologies generally accessible. The availability of such a library could render a number of aspects of instrument design to sequences of preparing simple drawings and filling in values in forms. No such library currently exists, but it is possible and likely that one could be developed. Folks working with PSM software in this industry undoubtedly have developed such models for their own use. I have some of my own and will use one as an example of how this technology works. 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 July 1, 2024July 9, 2024 by Dale Phillips Questions: Online Lutherie Info Questions: Online Lutherie Info by R.M. Mottola Originally published in American Lutherie #68, 2001 See also, Questions: Online Lutherie Chat by Cyndy Burton R.M. Mottola of Newtonville, MA responds to the question in AL#67 regarding where to have your lutherie questions answered online: I’m sure you’ll get lots of responses that give specific URLs, but here is some background and a way to find most places where you can ask your questions. The internet is generally considered to have three basic facilities — e-mail, websites, and Usenet newsgroups. There are discussion groups on the topic of instrument making that use each of these facilities. To find those implemented as websites you can use any internet search engine to search for appropriate terms. Typing “guitar discussion” into a search engine will get you a lot of hits. Finding discussion groups implemented as e-mail mailing lists could be tricky, as there are no comprehensive search facilities for such mailing lists. Fortunately most if not all e-mail-based discussion groups have a website too, so the search specified above will find those as well. Although most folks are not familiar with Usenet, it contains probably the single largest collection of topic-specific discussion groups. Rec.music.makers.builders is the grand daddy of all instrument building discussion groups, and is a Usenet newsgroup. You can access newsgroups using special facilities included in any web browser. Or you can go to one of the Usenet specific search engines such as Deja News (http://dejanews.com) and follow instructions there for posting to and reading selected newsgroups. ◆
Posted on June 30, 2024September 17, 2024 by Dale Phillips Construction of the Colombian Tiple Construction of the Colombian Tiple by Anamaria Paredes Garcia and R.M. Mottola Originally published in American Lutherie #90, 2007, Big Red Book of American Lutherie Volume Three, 2004 American Lutherie #82 featured an article and plan for the Colombian tiple by Bogotá luthier Alberto Paredes. This is a companion article to that one, featuring a detailed description of how the tiple is constructed in Sr. Paredes’ shop. The design of the tiple is heavily influenced by that of the classical guitar, but as it was not directly descended from the classical, this instrument has unique characteristics. With its multiple courses of steel strings, the construction of the tiple has to be able to withstand much higher static string tension than a classical guitar. The top is cut from bookmatched spruce, nominally 3MM thick. The two halves are generally cut out on the bandsaw at the same time, as shown in Photo 1. The center seam edges are jointed, first on the jointer (Photo 2). Following machine jointing the top halves are finished up on the shooting board using a hand plane. Note that the halves are simply pressed by hand to hold them down on the board during shooting (Photo 3). Glue is applied to the center seam surfaces (Photo 4) which are then clamped using simple cauls to a flat, waxed gluing board (Photo 5). Once the glue is dry the squeeze-out is stripped off the back side of the top. 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 April 21, 2023March 5, 2024 by Dale Phillips Product Reviews: Ameritage Cases Product Reviews: Ameritage Cases by R.M. Mottola Originally published in American Lutherie #68, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Ameritage Cases My friend and mentor Jim Mouradian of Mouradian Guitars is a clever guy. He builds a thoroughly modern electric bass called the Reality. It has a trim upper horn and swoopy waist cut that you would never confuse for a ’50s-styled Fender Jazz bass. But if you were to take just the outline of the Fender and lay it over the outline of Jim’s bass, you’d notice an interesting thing. The outline of the Reality is identical to that of the Jazz in a few places, and in the places where it is different, it is always smaller. Thus Jim’s instrument fits perfectly snug inside an off-the-shelf aftermarket Jazz bass case. This detail gives Jim a lot of options when it comes to cases. Like I said, he’s a clever guy. Those of us who build instruments for which “standard” cases are not available have to have cases custom made. Some builders need custom cases simply because they don’t want their instruments seen in anything less. There are a number of custom case makers. I’d like to share my experiences with one of them. Ameritage Carrying Cases is the musical instrument division of GWW Inc., a manufacturer that makes cases for just about anything. I found them via their website and asked for quotes for four cases for acoustic-electric basses I was building. I knew that custom cases would be needed for these, and I knew they would fit into standard Jazz bass cases but would rattle around inside. This last bit of information turns out to be kind of important. You can look at an instrument case as having two major components — the outer hard shell, and the padding between the shell and the instrument. If a manufacturer has to custom build the shell, then you are looking at one expensive case. But if they can use one of their existing shells, then the only thing that is unique for your case is the padding, and that makes for a more reasonable price. My instruments would fit into the standard rectangular electric-bass case shell. 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.
