2023
AL#148 p.63
R.M. Mottola
▪ Legit scientist Graham Caldersmith was an early GAL member and a prolific author for us and other journals. Those articles have now been gathered and published in a book. Our reviewer talks about the book, and about Caldersmiths position in the lutherie literature.
2021
AL#143 p.60
R.M. Mottola
▪ Mottola gives short, not-too-technical summaries of two articles recently published online by Savart Journal. In the first, Mark French et al. take on the fraught task of “Comparing Subjective and Objective Data from a Pool of Classical Guitars.” In the second, Gabriele Caselli et al. present an “Analysis of Violin Combination Tones and their Contribution to Tartini’s Third Tone.”
2017
AL#132 p.44
Juan-Oscar Azaret Graham Caldersmith
▪ Graham Caldersmith’s articles in GAL publications go back a full thirty-five years, earlier than American Lutherie magazine itself. He’s located in a tiny town in the hinterlands of New South Wales, Australia. He uses his scientific training to develop innovative classical guitars, and has long been a leader in the effort to develop a family of guitars of different sizes and musical ranges. Our globetrotting reporter asks about his latest thoughts and methods, which include carbon-reinforced lattice bracing.
2008
AL#95 p.14 read this article
Barbara Goldowsky Norman Pickering
▪ Pickering invented the phonograph cartridge named after him, but that’s just for starters. He’s spent a long lifetime researching and teaching acoustics, inventing clocks and aircraft instruments, working with medical ultrasonics, flying his own plane, researching bowed instruments, and playing viola in chamber ensembles. Just to name a few of his activities. A very interesting and intellectually restless man. With 8 photos.
1999
AL#60 p.16 BRB5 p.399
Graham Caldersmith
▪ Caldersmith offers this article as an aesthetic link with his more scientific treatise in AL#58. The shape of a fiddles sound can be explained technically, then interpreted into a wooden shape that must please the maker’s artistic eye. If you’ve been scratching your head over the meaning of all the technical gobbledygook, this may be the information you’ve been waiting for. With a drawing and 11 photos of the carving process.
This article has been nominated as one of the Guild’s best articles published before 2010.
1999
AL#59 p.63 BRB5 p.483 read this article
David Hurd
▪ The reviewer finds that the expense and daunting technical nature of this two-volume set should not prevent individuals from acquiring them and wading in. He admonishes that one never knows what will come out of such reading, but that nothing will come of it if it isn’t attempted.
1999
AL#58 p.32 BRB5 p.362
Graham Caldersmith
▪ Everyone knows that the most responsive instruments often teeter on the edge of self-destruction from string tension. Building fine-sounding instruments that will also have a reasonable lifespan is one of our general goals. Caldersmith takes a scientist’s view of the violin and decides that arching design is the key to longevity, while an understanding of free-plate tuning is needed to release the tonal qualities the luthier seeks. He furnishes 7 charts and diagrams to help make his case, as well as a photo of his Australian self. But what we all want to know is if a pursuit of science will eventually enhance our luthier’s intuition. Is it better to think or to feel? Do we really have to choose?
This article has been nominated as one of the Guild’s best articles published before 2010.
1999
AL#57 p.62 BRB5 p.479 read this article
Nicholas-Von Robison
▪ The reviewer finds that this technical tome about how wood vibrates may have a lot of value to any luthier who wants to work out the math, but that its high price will make it unavailable to most.
1995
AL#42 p.57 BRB4 p.466
Don Bradley
▪ The reviewer finds that the authors have made an invaluable reference for studying the vibration of all types of musical instruments.
1994
AL#40 p.14 BRB4 p.86
Alan Carruth
▪ Impressions of lectures given on the first day of the GAL 1992 convention in Vermillion South Dakota, held in conjunction with the Catgut Acoustical Society.
1992
AL#32 p.2 BRB3 p.307 read this article
Michael Cone
▪ Writes of soundboard graduation and using a glass capillary tube for plate excitation.
1992
AL#29 p.42 BRB3 p.136 read this article
Alan Carruth
▪ Carruth tries to keep it light as he describes the glitter dances that should improve your violins, and even sheds light on cello plate tuning. If you feel threatened by the dryness of science just relax and give it a try. Carruth is on your side. Really. With a whole bunch of drawings. Part One was in AL#28. Part Three follows in AL#30. The entire series appears in BRB3.
This article has been nominated as one of the Guild’s best articles published before 2010.
1991
AL#28 p.18 BRB3 p.136 read this article
Alan Carruth
▪ Most acoustic scientists are not prepared to reduce their work to a plane-by-the-numbers chart of an instrument top.Neither is Carruth. It remains to be seen what improvements free plate tuning will offer to the average guitar, but there is every chance that luthiers who ignore the work as an inartistic invasion of their craft and art will be left in the dust. Carruth invites you to get on board right now. Parts Two and Three are in AL#29 and AL#30. The entire series apperas together in BRB3.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1989
AL#17 p.6 BRB2 p.162
Tim Olsen
▪ Whether or not there is anything new to be said about Stradivari, it is impossible for a serious publication about lutherie not to take him into account at some point. Olsen’s lengthy article includes analytical drawings and photos of the master’s work. All the guitar and mando folks might wonder what the fuss is about. Olsen sets us straight.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1988
AL#14 p.50
Frederick-C. Lyman-Jr.
▪ Lyman forges ahead in his quest for a cheap but satisfying substitute for the traditional solid wood bass viol. This segment describes an experimental bass made of lauan plywood and 2×4 studs. The results leave him hopeful that he is on the right track.
1988
AL#13 p.10 BRB2 p.6
W.D. Allen
▪ Allen shows how changing the internal air resonance of the violin can change the performance of the instrument, and claims that this variable applies to any stringed instrument. With many charts (including Allen’s hula-dancing molecules), graphs, and 2 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1986
AL#7 p.61 BRB1 p.498 read this article
Tom Rossing
▪ The reviewer is enthusiastic about this booklet for the nonscientist, finding it useful and accurate.
1986
AL#6 p.52 BRB1 p.496 read this article
Tom Rossing
▪ The reviewer finds that this collection of scientific papers will be of value to instrument builders, though it offers no “how to” advice.
1986
AL#7 p.6 BRB1 p.232
George Bissinger
▪ This transcription of a lecture by a professor of physics examines how five variables affect the performance of the violin. The variables are loudness curves and student instruments; free plate tuning and testing; humidity effects on plate modes; bass bar tuning; and coupling between enclosed air and plate vibrations.
This article has been nominated as one of the Guild’s best articles published before 2010.
1986
AL#7 p.43 BRB1 p.196 read this article
Frederick-C. Lyman-Jr.
▪ Lyman offers another philosophical look at lutherie and acoustical physics.
1986
AL#6 p.19 BRB1 p.196 read this article
Frederick-C. Lyman-Jr.
▪ Lyman likens the physical properties of a stringed instrument to those of the earth’s atmosphere (our great spherical friend), and advises us that an understanding of science should underlay our intuitional sensitivities.
1985
AL#3 p.48 BRB1 p.491 read this article
Paul Wyszkowski
▪ The reviewer finds the book to be a complete text on the basics of acoustics that is relatively free of math and technical jargon.
1985
AL#1 p.16 BRB1 p.8 read this article
W.D. Allen
▪ Allen attempts to introduce the nonphysicist to useful concepts of resonance including standing waves, captured air mass, and soundhole size. Illustrated with the author’s own sometimes-whimsical drawings, the article aims at preparing luthiers to understand heavier fare on the physics of musical instruments.
This article has been nominated as one of the Guild’s best articles published before 2010.
1985
AL#1 p.21 BRB1 p.30 read this article
Keith Hill
▪ Hill theorizes that the violinmakers of the classical period tuned tap tones of certain areas of their instruments to desired pitch relationships. He finds these to be consistent within the work the individual makers, and suggests that the natural resonances of the human body may be a model for this idea. Specific techniques and tools are described.
This article has been nominated as one of the Guild’s best articles published before 2010.
1984
DS#287 BRB1 p.25 read this article
John Meng
▪ Meng suggests bending violin ribs using a backer of sheet aluminum to prevent shattering the wood, then goes on to suggest that tensions in the wood are often inadvertently built into instruments. Given time, the wood relaxes into its new shape, and the tone of the instrument improves at the same rate.
1984
DS#283 BRB1 p.20 read this article
Keith Hill
▪ Hill advocates tuning different portions of the plates to segments of the overtone system, using various tonic notes to suit the particular wood before you. No measuring tools are necessary during tuning since the actual thickness of the plate portions is of no consequence. He maintains that this is the tuning system used by the Italian masters.
This article has been nominated as one of the Guild’s best articles published before 2010.
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.
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.
1979
DS#112 BRB2 p.203
Matt Fichtenbaum
▪ The author supplies schematics for anyone wishing to build their own tone generator.