Author Archives: luthsearch

Removing Dovetails-Two

1982
DS#211   LW p.120            
Kent Rayman                                                                                           

▪ Steam out the neck with a pressure cooker. With 1 drawing. See the previous article and the next article.

Flattop Bridge Removal

1982
DS#210   LW p.99            
Jim Williams                                                                                           

▪ Clean bridge removal is almost an art, but the right heat source and the proper tools can give even the first-timer a fighting chance. Williams offers a dedicated lamp setup for heat and a modified cabinet scraper to slide through the glue joint. With 3 drawings.

Cutting Nut Slots with Strings

1982
DS#208   LW p.106            
Michael Trietsch                                                                                           

▪ The cheapo way to cut perfect nut slots is to use the wound string that will sit in the groove as a saw. It doesn’t work while the nut is mounted on the guitar, though. The unwound string slots are cut with an X-acto saw. With 1 drawing.

Floating Saddle for Dulcimer

1982
DS#205   BRB2 p.315            
Jeff Feltman                                                                                           

▪ Feltman offers a dulcimer bridge design that hardly changes the traditional look of the instrument but is said to dramatically improve the volume of the instrument. It’s a sad commentary on our noisy society that the only way to improve volume is by making it louder. Oh, well. With drawings enough to make things clear.

Making Bridges Using Power Tools

1982
DS#204   BRB2 p.289            
Kent Rayman                                                                                           

▪ The author uses a table saw and no jigs to help speed up the creation of classical guitar bridges. With 5 drawings.

Humbucking Pickup Wiring

1982
DS#203               read this article
Daniel-P. Coyle                                                                                           

▪ The use of dual-coil or ‘humbucking’ pickups enables a wide range of samples of string sounds, along with a heightened complexity of switching problems.

Making Florentine Cutaways

1982
DS#202   LW p.90            
Eric Berry                                                                                           

▪ Florentine cutaways are the pointy kind. This instruction is for adding the cutaway to your basic design as construction progresses, not for adding a cutaway to an already completed guitar. With 3 drawings.

William Foden

1981
GALQ Vol.9#4 p.26               
H.E. Huttig                                                                                           

▪ Guitarist William Foden could compare in technique with any artist of any era.

Guilds of the Middle Ages

1981
GALQ Vol.9#4 p.22               read this article
Gregory Smith                                                                                           

▪ The collective power and influence of a large group of craftsmen or businessmen could wield enough force to effectively combat the oppression of the feudal lords in the Europe of the middle ages.

The Business of Lutherie

1981
GALQ Vol.9#4 p.10   BRB1 p.48            read this article
R.E. Brune   George Gruhn   Steve Klein   Max Krimmel   Robert Lundberg                                                                           

▪ The economic atmosphere surrounding lutherie has changed a lot since this 1980 panel discussion, but tapping into the lutherie boom is no easier than it ever was. Max Krimmel followed his genius out of guitarmaking many years ago, but the rest of these gentlemen are still active, and their longevity suggests that they knew what they were talking about so long ago. Panel discussions aren’t often as much fun as this one.

This article has been nominated as one of the Guild’s fifty best articles published before 2010.

De Grassi and Dawgs: Our Hates and Loves

1981
GALQ Vol.9#3 p.32               read this article
David-B. Sheppard                                                                                           

▪ Brief interviews with some of the top notch performers at the 1980 GAL convention: David Grisman, Mike Marshall, Mark O’Conner, and Alex DeGrassi.

An Interview with Guitarist Roger McGuinn

1981
GALQ Vol.9#3 p.26               read this article
Rachael Brent   Roger McGuinn                                                                                       

▪ Anyone that has ever seen Roger perform knows that unlike many other musicians, he will never disappoint an audience.

In Search of the Lost Cobza

1981
GALQ Vol.9#3 p.20   BRB2 p.458            
Hardy-B. Menagh                                                                                           

▪ The cobza is an obsolete, nearly-neckless lute from Romania. The author capitulates his efforts to track one down while touring the cobza’s homeland. With 3 photos.

Guitar 81: Clash of the Titans

1981
GALQ Vol.9#3 p.9               
Paul Wyszkowski                                                                                           

▪ From June 22 to June 27 summer 1981, the Guitar Society of Toronto presented Guitar 81, its third international guitar festival. We received these 4 reports from GAL members in attendance.

Guitar 81: Romanillos Workshop

1981
GALQ Vol.9#3 p.9               
Duane Waterman                                                                                           

▪ From June 22 to June 27 summer 1981, the Guitar Society of Toronto presented Guitar 81, its third international guitar festival. We received these 4 reports from GAL members in attendance.

Guitar 81: Bum Trip

1981
GALQ Vol.9#3 p.8               
R.E. Brune                                                                                           

▪ From June 22 to June 27 summer 1981, the Guitar Society of Toronto presented Guitar 81, its third international guitar festival. We received these 4 reports from GAL members in attendance.

Guitar 81: An Overview

1981
GALQ Vol.9#3 p.8               
Duane Waterman                                                                                           

▪ From June 22 to June 27 summer 1981, the Guitar Society of Toronto presented Guitar 81, its third international guitar festival. We received these 4 reports from GAL members in attendance.

Lutherie-Luthiery

1981
GALQ Vol.9#2 p.30               
Staff                                                                                           

▪ The GAL editor explains why it is LUTHERIE, not LUTHIERY.

Pedagogue’s Lament

1981
GALQ Vol.9#2 p.24   LW p.126            read this article
William Cumpiano                                                                                           

▪ An instructor of guitar making examines the potential impact of his students upon the lutherie world, and decides that it may not be all positive. There’s no accounting for human nature, no matter how good a teacher you may be.

Life After the Dead

1981
GALQ Vol.9#2 p.10   LW p.70            
Rick Turner                                                                                           

▪ Turner started his lutherie life as part of the Grateful Dead’s clan of artists, engineers, and craftsmen, but ended up with his own company which built distinctive electric guitars. This shop tour includes 11 photos.

A Future Fable

1981
GALQ Vol.9#1 p.18               
Leo Bidne                                                                                           

▪ Thoughts on the nature of musical expression are couched in a sci-fi story.

Factory Life

1981
GALQ Vol.9#1 p.8   LT p.106            
John Judge                                                                                           

▪ This depiction of life in the Guild guitar factory in the ’60s may open some eyes.

Several Glue Tricks

1981
DS#199   BRB1 p.171            
Tim Earls                                                                                           

▪ Handy tips for spreading and cleaning up Titebond and epoxy.

Sanding Board Tip

1981
DS#199   LW p.95            
Alan Carruth                                                                                           

▪ The author offers a simple trick for making flat-bottom sanding blocks. Includes a drawing.

Horsetails

1981
DS#199   BRB2 p.479            
Chris Burt                                                                                           

▪ Horsestail weed makes a natural fine sandpaper. Stradivari used it. So can you.

Repair Orders

1981
DS#198               
Mayne Smith                                                                                           

▪ Diagnosis, cost estimate, exact job description, scheduling, and final documentation.

Constructing a Medieval Lyre

1981
DS#195   BRB2 p.258            
John Taye                                                                                           

▪ There must certainly be more than one way to make a lyre, especially since the instrument was never standardized. Taye uses a series of drawings, a blueprint, and a photo to help explain how he chose his version and how he builds them.

Patents

1981
DS#193   BRB2 p.292            
Scott McKee                                                                                           

▪ So, your brand new gadget is about to change music forever, huh? You’d better know how to protect it and yourself. McKee explains the patent process and how to do much of your own footwork.

Adjustable Neck Joints

1981
DS#190   LW p.107            read this article
Larry Robinson                                                                                           

▪ Put a hinge on your guitar neck and change the angle any time you please. Really. The design leaves the fingerboard floating over the body, though. With a pair of illustrations.

Archtop Routing Jig

1981
DS#186   LT p.65            
Rion Dudley                                                                                           

▪ This guide registers on the sides of the guitar rather than the plates. It is intended for the Dremel tool, but will work with a larger router.

Dial Indicator Caliper

1981
DS#185   LT p.2            
T.E. Owen                                                                                           

▪ Aluminum frame, dial indicator.

This article has been nominated as one of the Guild’s best articles published before 2010.

Head V-Joint

1981
DS#183   BRB2 p.282            
Duane Waterman                                                                                           

▪ The author uses a series of drawings to help explain the creation of a unique but tradition method of attaching the headstock to a guitar neck.

Copyrights

1981
DS#182   BRB2 p.292            
Scott McKee                                                                                           

▪ Copyright interest, remedies for infringement, period, and ownership.

Fiberglass Headstock Repair

1981
DS#181   LW p.117            
William Hatcher                                                                                           

▪ Try this method of repairing a headstock break when you don’t trust Titebond to do the job. It involves extensive touchup work, however.

Dust Free, Open Sided Sander

1981
DS#178   LT p.78            
Al Leis                                                                                           

▪ Open-sided sander utilizes a 6″ drum arbor-mounted on an electric motor and covered with a dust collection system.

Fitting Lute Pegs

1981
DS#176   BRB2 p.260            
Lawrence-D. Brown                                                                                           

▪ Lute pegs are different than violin pegs and have their own requirements if they are to function properly. Brown gives a thorough explanation.

The Parisian Eye

1981
DS#175               
Michael Breid                                                                                           

▪ Procedure for making ‘Parisian eyes’, a type of inlay resembling a pearl dot, surrounded by ebony and encased in a gold or brass ring.

White, Yellow, and Hide Glues

1981
DS#174   BRB1 p.162            read this article
Lawrence-D. Brown                                                                                           

▪ Brown urges luthiers not to use white glue, to be careful where we use yellow glue, and to explore the possibilities of hide glue. As a maker of instruments that are commonly disassembled during repair, his stilt is natural. His advice is well grounded, though, and you’ll do well to examine his arguments before you build anything.

Systems Analysis of the Violin

1981
DS#173               read this article
A.F. Standing                                                                                           

▪ The results of the author’s cogitations are presented in the hope that a different and unbiased viewpoint will aid in the understanding of the violin, its operation and adjustment.

Improved X Bracing

1981
DS#172   LW p.100            read this article
Don Musser                                                                                           

▪ Get rid of those scalloped braces and the bulge in the top of the guitar in one operation. Musser’s design is asymmetrical and pretty radical from a “vintage” view point, but a number of luthiers have confessed that it has improved their guitars.

Soundboard Bracing Considerations

1981
DS#171   BRB2 p.201            
Paul Wyszkowski                                                                                           

▪ The author uses a light approach to science to explain the function of the classical guitar top and attempts to translate the functions of physics into a form the luthier can use at the bench.

Positioning Studs for Top Cracks

1980
DS#165   LW p.96            
Mike Janosko                                                                                           

▪ Problem: since you began pumping iron your arms are too big to fit through a guitar soundhole. Here’s another way of reinforcing top crack repairs without asking help from your pencil-arm brother-in-law. With 1 drawing.

Gruhn Battles T.A.S.

1980
GALQ Vol.8#4 p.22               
George Gruhn                                                                                           

▪ Luthiers, both repair craftsmen and builders, tend to exhibit ‘temperamental artist syndrome’.

An Interview with Guitarist David Tanenbaum

1980
GALQ Vol.8#4 p.14               read this article
David Fisher   David Tanenbaum                                                                                       

▪ 24 year old virtuoso David Tanenbaum of Oakland, CA is already a veteran of New York solo recitals and concerts and tours with the Jeffrey ballet.

Design Factors in the String Bass

1980
GALQ Vol.8#4 p.8   BRB2 p.52            
Frederick-C. Lyman-Jr.                                                                                           

▪ Lyman has made basses for several contemporary bass luminaries and has decided that they need qualities in the bass that weren’t called for in the past. He offers specific ways to match a bass to the requirements of the player. With one photo of the author.

Vihuela, Mystery Instrument

1980
GALQ Vol.8#3 p.36               read this article
Wally Eubanks                                                                                           

▪ The vihuela (Spanish name for a stringed instrument of the renaissance age) is a guitar-like instrument and was used in Italy and Western Europe in the late 1400s to the early 1600s.

Controlling Strings, Wood, and Air

1980
GALQ Vol.8#3 p.8   BRB1 p.300            read this article
Carleen Hutchins                                                                                           

▪ Carleen Hutchins gives an introduction to the work of the Catgut Acoustical Society at the GAL’s 1979 Convention in Boston.

A Friendly Interview with Donald Warnock

1980
GALQ Vol.8#2 p.16               read this article
David-B. Sheppard   Donald Warnock                                                                                       

▪ Instrument maker Donald Warnock was a major figure in the early-music revival of the 1960s and ’70s.

The Sting

1980
GALQ Vol.8#2 p.12               
Max Krimmel                                                                                           

▪ Max Krimmel gives a thorough rundown on exactly how he was scammed and how you can avoid a similar episode.

The Piccolo Bass

1980
GALQ Vol.8#1 p.36               read this article
Frederick-C. Lyman-Jr.                                                                                           

▪ A new instrument which fills the gap between the bass and the cello and which can be used in the melodic register but with the tonal density of the bass, rather than cello.

Lute Making

1980
GALQ Vol.8#1 p.26   BRB2 p.68            
Lawrence-D. Brown                                                                                           

▪ During the ’70s it was common for guitarmakers to build lute-shaped instruments utilizing the technologies of the guitar, even to the point of designing their own shapes. Brown offers a large number of reasons why this was a mistake and a disservice to the instrument and modern lutenists, citing the many factors of historical lutes that should be retained rather than messed with. It’s interesting to note that in the years following this article the emphasis of lute making returned to following historical guidelines. With 2 photos.

Pearls Before Junk Dealers

1980
GALQ Vol.8#2 p.10   LW p.66            
Richard Irwin                                                                                           

▪ Irwin found a small gold-painted guitar in a junk shop that turned out to be an 1850 2-24 Martin. Removing the gold paint revealed a nearly pristine guitar marred only by some pick wear. With 3 photos and a diagram of the pyramid bridge.

Two Dremel Jigs

1980
DS#164   LT p.62            
J.D. Mackenzie                                                                                           

▪ One is a Dremel base for cutting binding channels. The second is another base used to inlay decorative stringing of the face of headstocks.

Health Hazards: Solvents, Finishes, and Thinners

1980
DS#160               
Ervin Somogyi                                                                                           

▪ A list of the most common chemicals used by luthiers which have a high rating for chemical toxicity, including acetone, benzene, aniline, lacquer thinner, esters, methanol, and paint strippers.

Updating the Mountain Dulcimer

1980
DS#159   BRB2 p.290            
Hardy-B. Menagh                                                                                           

▪ Menagh’s dulcimer utilizes a shortened fretboard, a banjo-ish bridge, and a tailpiece to help make the instrument louder. He also employs an X brace under the top.With 2 photos and a drawing of his dulcimer innards.

Folk Harp Design

1980
DS#156   BRB2 p.284            
R.L. Robinson                                                                                           

▪ Robinson was a champion of the folk harps long before the current Celtic music craze. He built a lot of harps, and had some strong opinions about how it should be done. With a photo and 14 drawings.

Body Mold

1980
DS#153   LT p.52            
Glenn Markel                                                                                           

▪ Basic mold holds the developing instrument body inside a frame of layered wood.

Seedlac

1980
DS#150   BRB1 p.121            read this article
Nicholas-Von Robison                                                                                           

▪ Robison insists that as an instrument finish seedlac is superior to shellac in every sense. You never heard of seedlac? Jeez, you better get on the bus! If French polish thrills you but it’s fragility gets up your nose, seedlac could make your day.

This article has been nominated as one of the Guild’s best articles published before 2010.

Resonance

1980
DS#145   BRB2 p.99            
Roger Siminoff                                                                                           

▪ The author considers X braces as structural elements and tone bars as tone adjusters, and that tone color can be altered by the stiffness of the tone bars and the size of the soundhole. Despite the possibilities, no examples for use are given.

Calculating String Tension

1980
DS#144   LW p.106            read this article
Max Krimmel                                                                                           

▪ To use this article you’ll need a gram scale, a Hz frequency chart, and a calculator. You can figure for yourself what some of the string makers won’t tell you.

This article has been nominated as one of the Guild’s best articles published before 2010.

Modified Cam Clamp

1980
DS#143   LW p.97            
John-M. Colombini                                                                                           

▪ The author couldn’t reach through the small soundhole of a guitar to bolt the bridge on, so he devised a nifty cam clamp that not only holds the socket but aids in lining up all the pieces during the operation. With 3 diagrams.

Hide Glue Techniques

1980
DS#142   BRB1 p.112            
Donald Warnock                                                                                           

▪ Luthiers returning to hide glue have begun a movement, and if you wish to join you’ll need all the help you can get. The stuff can be pretty fussy. Warnock explains the varieties of hide glue, how to live with it, and how to apply it to several different instruments. Where else can you get information about veneering the back of a neck?

This article has been nominated as one of the Guild’s fifty best articles published before 2010.

Doodlebug Pad Polishers

1980
DS#140   LW p.111            
Marvin Tench                                                                                           

▪ Yet another substitute for messy steel wool on your bench (not to mention your pickups). Doodlebug pads are a 3M scouring pad made of nylon. Polish your frets with impunity.

Drill Press Rosette Grooves

1980
DS#140   LW p.80            
Larry Stevens                                                                                           

▪ A drill press only wants to make holes, but you can train it to do a lot of tricks. For instance, why not use it to mill the slots for rosette rings to snuggle into? Groovy! With diagrams of the cutting bits.

Go-Bar Deck

1980
DS#139   LT p.44            
David-B. Sheppard                                                                                           

▪ Simple system is cheap and easy to make.

This article has been nominated as one of the Guild’s best articles published before 2010.

Routing Neck Dovetails

1980
DS#138   LW p.118            
Larry Stevens                                                                                           

▪ The author borrowed this dovetail system from Max Krimmel. The routing jigs are fully described, and it is recommended that the head block be routed before the body is assembled, Martin-style.

Rebuilding the Tune-O-Matic

1980
DS#137   LW p.99            
William Hatcher                                                                                           

▪ This classic piece of guitar hardware suffers from its share of rattles and loose parts, even on new units. You can tune it up and quiet it down. Here’s how. Includes 2 illustrations.

Hurdy-Gurdies

1980
DS#134   BRB2 p.298            
Alan Carruth                                                                                           

▪ There’s nothing like a hurdy-gurdy to help you win the hearts of the damsels at a Renaissance fair. Carruth offers helpful advice about making one that even plays music! Turn that crank and relive the Middle Ages! With 5 drawings.

An Overview of Pickup Design

1979
GALQ Vol.7#4 p.20   BRB2 p.62            
Tim Shaw                                                                                           

▪ This is just about as good a description of how pickups work as you are going to find. Shaw was a main man at Gibson, and relates several of the design considerations to specific guitars. If pickups are really this easy to understand why do they seem so mysterious? Includes 4 diagrams of how pickups are built.

This article has been nominated as one of the Guild’s best articles published before 2010.

Lute Making: Some Practical Reasons for an Historic Approach Part 1

1979
GALQ Vol.7#4 p.10   BRB2 p.68            
Lawrence-D. Brown                                                                                           

▪ Discussion of lute soundboard, bridge, neck, fingerboard, and frets.

Color Reveals Tone

1979
GALQ Vol.7#3 p.41               
William Conrad                                                                                           

▪ Tone is not an exact science and a so-called expert is unqualified to make a positive judgment as to which tone is correct.

Canadian Luthiers Unite

1979
GALQ Vol.7#3 p.39               
Kevin Hall                                                                                           

▪ Kevin calls out to Canadian luthiers, exhorting them to form a new organization of mutual aid and enlightenment. They didn’t.

Frets and Fingerboard Care

1979
GALQ Vol.7#2 p.17   LW p.111            read this article
Randy Stockwell                                                                                           

▪ Once again finesse in refretting is used to match the shape of the fingerboard to the arc of the plucked strings. Stockwell’s method calls for experience rather than formulae, however. Compare this to the method on p.108.

Acoustic Variables in Fretted Dulcimer Construction

1979
GALQ Vol.7#2 p.8   BRB2 p.96            
Bonnie Carol                                                                                           

▪ Despite its simplicity, the lap dulcimer can be ruined by poor design as easily as any other stringed instrument. The author describes ways to deal with different varieties of wood and fingerboard design to achieve maximum tone and volume from a given shape and size dulcimer. With 3 photos and 2 drawings.

Western Forestry Show

1979
GALQ Vol.7#1 p.36               
Jeffrey-R. Elliott                                                                                           

▪ Portland Oregon’s Western Forestry Center hosted over 2,000 paid visitors who came to view and inspect more than 30 instruments exhibited by 24 local area luthiers.

Carmel 1978

1979
GALQ Vol.7#1 p.34               
David-Russell Young                                                                                           

▪ The Carmel Classic Guitar Festival (Nov. 3,4,5) provided a valuable opportunity to exhibit guitars to a large number of interested amateurs and accomplished professionals.

Variables in Archtop Design

1979
DS#131   LW p.50            
Jimmy D’Aquisto                                                                                           

▪ D’Aquisto pioneered the maturation of the archtop guitar into a versatile instrument. Here he runs down a list of design factors and what they do for the sound.

This article has been nominated as one of the Guild’s best articles published before 2010.

Gluing a Cracked Back or Top

1979
DS#129   LW p.98            
Ted Davis                                                                                           

▪ This is a method for mending cracks in free, unbraced plates using only small nails and a workboard. Includes a drawing of the technique.

More Inlay Tricks

1979
DS#129   LW p.86            read this article
Tim Shaw                                                                                           

▪ Sometimes a little finesse in the way we work can be as important as the basic job. In fact, lutherie is all about finesse. If you glue your pearl pieces in place before tracing them Shaw’s bit of finesse may save you some broken shell.

Sandpaper Hints

1979
DS#127   LT p.84            
Boyd Butler                                                                                           

▪ A tool that aids in tearing sandpaper sheets into useful sizes, and a sanding board for close places.

Nuts and Bolts for Bridge Gluing

1979
DS#126   LW p.98            read this article
Tim Olsen                                                                                           

▪ How to use bolts and wing nuts to align a bridge through the pin holes and form part of the clamping force. With 1 drawing.

Copying Pearl Patterns

1979
DS#125   LW p.86            read this article
Robert Steinegger                                                                                           

▪ The author keeps a comprehensive file of all the cool patterns that cross his bench, and here’s how he does it. It’s not quite as easy and obvious as you might think.

Neck Relief

1979
DS#124   LW p.108            read this article
Phillip Mayes                                                                                           

▪ The arc of a plucked string can be calculated. Therefore, it stands to reason that that arc could be built into the neck relief, giving the lowest possible buzz-free action. Yup, but it’s tough to make such minute adjustments to a flexible stick like a guitar neck. Still, the concept is interesting, and on a graphite neck might be entirely practical. With 4 illustrations and a pair of charts.

Position Markers For Fretless Bass

1979
DS#123               
Leo Bidne                                                                                           

▪ The fretless bass, unlike the vertical standing double bass, is played horizontally and the long, slim neck is too wide for ‘sighting’ down the neck, thus a system of marking is necessary.

Discovering Guitar Resonances

1979
DS#121               
Warner-W. Schultz   Jack Frarey                                                                                       

▪ This study was undertaken in the hope of furnishing a simple and inexpensive method of following the resonance characteristics of guitars during the process of construction.

Deep Studding Top Cracks

1979
DS#116   LW p.95            
Al Leis                                                                                           

▪ So how does one reach w-a-y back there to reinforce top crack repairs? By making a special clamp, and by evolving a slick method of using it. Here’s how it’s done. Includes 2 photos.

Basic Sitar Repair

1979
DS#115   BRB1 p.94            
Thom Lipiczky                                                                                           

▪ Sitars are wonderful to look at, strange to hold, lovely to listen to, and peculiar to repair and set up.These days, when vintage instrument values make repair a high-risk endeavor, Lipiczky’s offbeat cures for broken gourds and loose frets are a breath of fresh air. Sitar repair has no doubt advanced since 1979, but we’ll have to take what we can get as far as instruction is concerned. The Indian words make for exotic reading, and the chart of string gauges may save your bacon one strange day.

Wood Dust: Beware

1979
DS#108   LW p.43            
Ervin Somogyi                                                                                           

▪ If the dust in your shop is out of control, then so is your health.

This article has been nominated as one of the Guild’s best articles published before 2010.

String Spacing

1979
DS#103               
Sylvan Wells                                                                                           

▪ An explanation of the method for proper spacing for cutting slots for strings in the nut and laying out centers in order to drill the holes for bridge pins, concluded with the mathematics already completed in an easy to use table.

Gold Leaf

1979
DS#102   LW p.87            read this article
Nicholas-Von Robison                                                                                           

▪ Traditional ways of decorating instruments follow a narrow path. The author uses gold leaf to enhance his inlays. The path grows a little bit wider. Includes 3 illustrations of the steps involved.

An Interview with Richard Schneider

1978
GALQ Vol.6#4 p.10               
Michael Keller   Richard Schneider                                                                                       

▪ A brief interview with the renowned luthier, maestro Richard Shneider, known for his development of the radically innovative Kasha Design soundboard guitar.

Solving the Maple Problem

1978
GALQ Vol.6#2 p.32               
Rolfe Gerhardt                                                                                           

▪ Finding a good and consistent supplier of fine fiddleback of maple has been one of the greatest problems in mandolin building.

Manuel Davila: Renaissance Man

1978
GALQ Vol.6#2 p.30   BRB2 p.61            
H.E. Huttig                                                                                           

▪ Hutting happens across Manuel Davila in Guatemala City, who builds guitars that are completely original and do not follow tradition in construction and decoration.

The Marlin Carver

1978
GALQ Vol.6#2 p.25               
Rolfe Gerhardt                                                                                           

▪ The Marlin is a sign carving pantograph router with a lettering template clamped on one side and the sign board the other.

Guitar Evaluation at Carmel

1978
GALQ Vol.6#2 p.19               
David-Russell Young                                                                                           

▪ Many instruments, when compared together in a forum such as Carmel, provide a good basis for determining the strong and weak points of each individual instrument.

Business Ethics in Lutherie

1978
GALQ Vol.6#2 p.14               read this article
Lawrence Lundy                                                                                           

▪ Warranties, delivery deadlines, return of instruments, care and feeding, payments and pricing, customer info, and happy transactions.

The Early and the ‘Modern Viol’

1978
GALQ Vol.6#1 p.35               read this article
Theron McClure                                                                                           

▪ All the viols made and played today are copied from those made during the final 75 years of the 3 century span of viol playing.

Six Un-invented Instruments

1978
GALQ Vol.6#1 p.16               
Tim Olsen                                                                                           

▪ Olsen dreams up six new instruments. Decades later, he still has not built them. Admittedly,the teepee-gurdy would be a bit of a project.

Meet the Maker: Robert Lundberg

1978
GALQ Vol.6#1 p.10   BRB2 p.78            
Kent Rayman   Aggie Rayman   Robert Lundberg                                                                                   

▪ Lundberg is a classic example of a man who couldn’t fit into any of the slots society tried to force him into, yet who went on to become an important individual in his field. Lute players of the world couldn’t be happier about it. With 4 photos.

This article has been nominated as one of the Guild’s fifty best articles published before 2010.

The Design Diamond

1978
DS#100               read this article
Dan-Neil McCrimmon                                                                                           

▪ The basic idea behind this geometry jazz is to have the elements of design organized in such a way as to give a sense of cohesion to the total design.

Top and Back Joints

1978
DS#99   LW p.101            
Tim Olsen                                                                                           

▪ Build a simple shooting board to make plate joints with a plane, then use one of 3 tried-and-true forms of clamping workboards to glue them together.

Refretting

1978
DS#96               
John Thierman                                                                                           

▪ Comprehensive instrument refretting, from preparation of the fret board to fret wire types.

Removing Side Ripples

1978
DS#95   LW p.90            
Don Musser                                                                                           

▪ Some wood ripples when it is wetted for bending. Musser describes how to remove the ripples, but you’ll have to have a metal bending form to use his method. With 2 photos.

Hide Glue

1978
DS#94               
Chuck Morrison                                                                                           

▪ Using watered down type hide glues, such as Franklin’s Liquid Hide Glue, will lead to trouble. Preparation of the real stuff is easier than you think.

Epoxy

1978
DS#90   BRB1 p.353            read this article
Paul Jacobson                                                                                           

▪ There is a small but vocal movement afoot to return lutherie to a “purer” state by (among other things) reverting to hide glue and French polish. Don’t be too quick to sign on until you’ve read this thought-provoking article. There is no such thing as “pure” lutherie, and you should understand what you’re surrendering before you relinquish modern techniques. Epoxies have advanced since this was written in 1978, but the reasons for using them remain the same.

Oil Varnish Techniques

1978
DS#89   BRB1 p.284            read this article
David Rolfe                                                                                           

▪ Violinmakers can (and do) talk at length about varnish formulas. Rolfe leaves that to others, and instead describes at length the process of getting the varnish onto the instrument with a minimum of fuss and a maximum of cleanliness. Included is a discussion of brushes, rags, rubbing down and polishing materials, drying boxes, and where in your shop to varnish.

This article has been nominated as one of the Guild’s best articles published before 2010.

Making Pointy Rosettes

1978
DS#88   LW p.78            
Tim Olsen                                                                                           

▪ Are you tired of rosettes that are just rings around the soundhole? Here’s a jumping off point if you want to take the plunge. The next step is to get rid of the round soundhole. With 3 diagrams.

Heat Pressing Necks

1978
DS#86   LW p.110            read this article
Tim Olsen                                                                                           

▪ No, you don’t press a neck to take the wrinkles out. Sometimes it’s necessary to heat a crooked neck, overbend it with clamps, then hope it cools and relaxes into some semblance of straightness. This sort of caveman lutherie is still called upon from time to time, and you probably won’t find a more detailed description of the operation than this one. With 5 illustrations.

Spray Finishing Setup

1978
DS#85   BRB1 p.41            
Rolfe Gerhardt                                                                                           

▪ That is, setting up the actual spray system from compressor to gun, with additional information about spray room accessories. It’s worth noting that in his update the author (a maker of top quality mandolins) mentions that he has abandoned lacquer in favor of waterborne products.

Razor Scrapers

1978
DS#84   LT p.29            
Tim Olsen                                                                                           

▪ Regrind single-edged razor blades into good little scrapers.

This article has been nominated as one of the Guild’s best articles published before 2010.

Two Ancient Guitars

1978
DS#82               
Don Alfieri                                                                                           

▪ Two photographs by Schuab photo: a German guitar from the early 1800s and an American guitar signed and dated Schmidt and Maul, 1844, New York.

Guitar Outline Formula

1978
DS#79               read this article
Leo Bidne                                                                                           

▪ The determining factors besides the obvious ones for making a guitar the shape that it is and a possible formula that produces an ideal outline.

Lining Strips

1978
DS#77   LT p.101            
Tim Olsen                                                                                           

▪ Table saw jig to evenly cut kerfs in rectangular strips of lining.

Calfskin Banjo Head

1978
DS#76   BRB2 p.244            
Kirk Hogan                                                                                           

▪ Mounting a skin head on a banjo has become a lost art. Here’s how to do it. Includes 4 drawings.

French Polishing with Qualasole

1978
DS#73               
Paul Estenson                                                                                           

▪ While the traditional French polish method uses shellac and oil, with olive oil as a lubricant, qualasole is a relatively new finish material that is almost complete by itself and also seems more durable than shellac.

Routing Rosette Slots

1978
DS#69   LT p.61            
John Spence                                                                                           

▪ Spence uses sub-bases for his router to make rosette cavities. The sub-bases are drilled with holes that fit over a pin mounted in the center of what will be the soundhole.

Lining Cutting Jig

1978
DS#68   LT p.88            
William Spigelsky                                                                                           

▪ Use this bandsaw jig to cut rectangular stock into triangular unkerfed lining blanks. This tip is confusing until you realize that the box is a permanent part of the jig, and that the jig should be clamped to the saw table. The binding stock is fed through, and supported by, the box.

Bandsaw Dust Collector

1978
DS#65   LT p.88            
Tim Olsen                                                                                           

▪ Machine manufacturers have become hip to the health problems that accompany the use of their equipment, and most incorporate dust collection ports into their new machines. This was hardly the case in the old days, and there are still tons of old machines in use. If you have one you are responsible for your own health, and thus the modification of your machine. The author’s ideas can be adapted to almost any bandsaw.

Spraying Lacquer With Nitrogen

1978
DS#64   BRB1 p.373            read this article
Harry Coleman                                                                                           

▪ If you’re hurting for space or can’t yet afford a compressor, you may find that spraying with a tank of nitrogen makes sense. You may find that it makes sense no matter what, depending on the volume of your finish work.

Foam Cases

1978
DS#62               read this article
Reagan Cole                                                                                           

▪ These paper-styrene laminates are very strong and make good forms for laminating forms in vacuum presses.

Harpsichords: Reconstructing an Era

1977
GALQ Vol.5#4 p.29               read this article
Byron Will                                                                                           

▪ The music of the renaissance and baroque has undergone a rebirth in the 20th century, with musicians and makers attempting to rediscover the high level of art that was reached.

Evolution of the Classic Guitar- A Tentative Outline

1977
GALQ Vol.5#4 p.12               
Wilfrid-M. Appleby                                                                                           

▪ Parts 4, 5, and 6 of this series from the old Guitar News magazine of England. You can find it at www.digitalguitararchive.com/2019/11/guitar-news

Novice Notes

1977
GALQ Vol.5#3 p.29               read this article
Donald Curry                                                                                           

▪ The final step in the making of an instrument is the finish, which includes preparation of the wood, applying material, and final polishing.

1977 Convention coverage

1977
GALQ Vol.5#3 p.16               
Staff                                                                                            

▪ Photos, lists, and captions about the GAL’s fourth national convention.

Evolution of the Classic Guitar- A Tentative Outline

1977
GALQ Vol.5#3 p.6               
Wilfrid-M. Appleby                                                                                           

▪ This lengthy article originally appeared in a six part version in Guitar News, which has long since ceased publication. But you can find it at www.digitalguitararchive.com/2019/11/guitar-news.

Joe Chromey on the Catgut Acoustical Society

1977
GALQ Vol.5#2 p.10               
Joe Chromey                                                                                           

▪ The Catgut Acoustical Society was founded in 1963 by the late Frederick A. Saunders, formerly professor of physics at Harvard University.

Novice Notes

1977
GALQ Vol.5#1 p.11               
Donald Curry                                                                                           

▪ The subject of molds is one which the novice might approach with some apprehension, but is an integral part of lutherie.

Repair Shop Survival

1977
GALQ Vol.5#1 p.5               
S.L. Mossman                                                                                           

▪ Problems in these areas are the main reasons for small shops having a difficult time making ends meet; location, personnel management, and dealing with professional people.

Potassium Dichromate, Oxalic Acid, and Carnauba Wax

1977
DS#55   BRB1 p.36            read this article
Jeffrey-R. Elliott                                                                                           

▪ Various chemicals have been used for centuries to color (or de-color) wood. Fiddle makers are hip to tons of these, but Elliott describes a couple that he finds useful on his guitars. He also advocates lubricating tools and work surfaces with carnauba wax, which will not contaminate your wood.

This article has been nominated as one of the Guild’s best articles published before 2010.

Beizes, Collies and Potassium Dichromate

1977
DS#52               
Jeffrey-R. Elliott                                                                                           

▪ Potassium dichromate is the base of ‘beizes’ and ‘collies’ which are commonly used by European luthiers to give that nice brown ‘aged’ look to lighter woods.

A Laminated Neck Design

1977
DS#50   LW p.112            read this article
Tim Olsen                                                                                           

▪ Necks fashioned from one hunk of wood are beautiful but wasteful. Laminated designs intended to conserve the most wood are often considered unsightly, so Olsen tackled the problem with a laminated design that offers the prettiest wood, the highest strength, and that makes the installation of a curved truss rod a snap.Pretty cool. With 7 drawings.

Balanced Steel Drum Variation

1977
DS#48   LT p.73            
Kent Rayman                                                                                           

▪ Again, this is a variation in the Ruck-Brune sander. You need to read all these articles before beginning construction of your sander in order to avoid mistakes that others have already made.