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Letter: Veneer Backing Boards

Letter: Veneer Backing Boards

by Lloyd Zsiros

Originally published in American Lutherie #30, 1992

 

Tim,

The wood supplier I deal with for almost all of my materials (A&M Wood Specialty in Cambridge, Ontario — a frequent advertiser in American Lutherie) sometimes gets in quantities of backing boards. These boards are a byproduct of the veneer industry. As most of us know the veneer industry manages to get hold of some of the finest and most desirable logs of various species. These logs are then cut into manageable sizes, if necessary, and clamped into a massive carriage assembly which then moves the log past a stationary knife, neatly slicing off uniform thicknesses of veneer. The carriage assembly used large steel teeth to grab the log and the knife can only cut so close to these. What’s left is a piece of wood usually anywhere from about 1/2" to over 1 1/4" known as a backing board. Many of these are perfectly quartered and quite wide. They can often be purchased directly from the veneer mill or from suppliers like A&M at extremely attractive prices. I have obtained walnut, cherry, and beech this way at a fraction of the usual cost. The boards are often just thrown outdoors usually in the open so they may not be very attractive on the surface but I have obtained some of the nicest walnut I’ve ever seen from these. I’ve noticed some favorable comments in American Lutherie about cherry as an instrument wood. This is a good source for nice wide quartered cherry. Although I’ve never used this on a guitar I do have some 1' long, 20" wide, 1 1/4" thick quartered cherry I obtained a few years ago for $2 a square foot I’ve been saving for something special. It could be worth a try! Oh, and a word on A&M Woods. As they are an advertiser in American Lutherie, you may be interested in knowing I have had nothing but great service from them. They have been my primary source of materials for over 10 years and I can’t say enough good things about Andy and his staff at A&M.

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Review: Making Guitar 1 by Daniel Fort and Owen Riss

Review: Making Guitar 1 by Daniel Fort and Owen Riss

Reviewed by Lloyd Zsiros

Originally published in American Lutherie #29, 1992 and Big Red Book of American Lutherie Volume Three, 2004



Making Guitar 1
Daniel Fort and Owen Riss
Video tape, 60 min. 1990

Building your first acoustic guitar from scratch with no instructor can be a difficult and intimidating task even for an experienced woodworker. We are now lucky enough to have several fine books on the subject, but I was interested to see how well the information could be presented in a video format. Few of us have the luxury of an experienced luthier to guide us along. A video should be the next best thing to being there.

According to the narration, Making Guitar 1 documents the first attempts at guitar making by two individuals; one makes a traditional nylon-string classic and the other a steel-string acoustic. Although most construction steps are covered fairly well, this should not be considered a complete do-it-yourself guide to building either instrument. It would not be practical to present dimensions or plans on a video, so a good text is still going to be required for the first-time builder.

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Review: The Ultimate Guitar Book by Tony Bacon

Review: The Ultimate Guitar Book by Tony Bacon

Reviewed by Lloyd Zsiros

Originally published in American Lutherie #30, 1992 and Big Red Book of American Lutherie Volume Three, 2004



The Ultimate Guitar Book
Tony Bacon
Alfred A. Knopf, 1991. 192 pp.
ISBN 0-394-58955-6

Well, the ultimate guitar book is finally here! Or so it would seem from the title of Tony Bacon’s book. Fortunately for those of us who are the true fans of the instrument in all its many forms, this book comes very close to fulfilling the promise of its title. It can best be described as a comprehensive visual reference work that features some of the finest instruments ever produced. The history of the guitar is told through many very fine photographs along with profiles of many of those responsible for its development. All of the great makes are represented here along with some not so great and often bizarre.

The book begins by covering some of the modern guitar’s earliest ancestors from the late-16th and early-17th centuries. These early instruments were characterized by ornate roses, multiple courses, gut frets, and deeply arched backs. As the instrument developed, much of the ornateness disappeared. Most interesting is a 1680s Stradivari that is elegant in its simplicity when compared to the earlier instruments. When seen in this context, it’s also easy to understand the significance of the remarkable evolutionary developments brought about by Antonio de Torres.

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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.