2024
AL#152 p.58
John Huffman
▪ If you are a guitar maker, Ill bet you know the thrill of adapting some cheap gizmo into a specialized tool for the lutherie trade. Huffman quickly jury-rigs an inexpensive fish scale into a useful jig for measuring individual string tension.
2024
AL#152 p.63
Federico Sheppard
▪ Action matters. It matters to the playability and to the sound. And the height of the strings off the soundboard is no accident on a fine guitar. Sheppard takes a very close look at eighty-nine extraordinary examples in one of the worlds great classical and flamenco guitar collections and gives us the deets. Mentions Shel Urlik.
2024
AL#151 p.58
Mark French
▪ Its amazing what you can do with a smart phone these days. Think you would need an anvil, a block-and-tackle, and a bathrom scale to measure the breaking strength of a guitar string? Nope. Theres an app for that. Mentions Fine Chromatic Tuner.
2024
AL#151 p.64
Geoff Needham
▪ A cheap mail-order gizmo for measuring tire tread wear; a pair of nippers; a scrap of plexi; a bottle of superglue. Put them all together and youve got a sweet tool like the cool kids use. Mentions Chris Alsop.
2023
AL#150 p.14
Sjaak Elmendorp
▪ When you tighten the strings on an archtop guitar, the neck lifts forward and the action height increases. At the same time, the bridge pushes the top down and the action height decreases. Its a win-win! So you can just feel lucky about it and proceed naively along your life path, or you can do what Elmendorp did: get a bucket of water, a piece of wire, and a dial indicator; collect some data; then crunch the numbers.
2023
AL#150 p.38
Mark French Devon Pessler Alyssa Fernandez
▪ Ya talk about rabbit holes. Research into guitar intonation just gets deeper and deeper. This article homes in on individual string compensation at the nut, plus small adjustments to the position of the 1st and 2nd frets. Industrial strength data collection. Heed the eggheads.
2022
AL#147 p.28
James Buckland
▪ Baroque guitars were 5-course instruments. That is, they had ten strings in five pairs. Then suddenly here comes the 19th century and guitars had six single strings. Yadda yadda, now its today and everything is normal. The real story is a lot more interesting than that and it actually involves a missing link; the 5-string guitar. Luthier, guitarist, and scholar Buckland lays it all out for us.
2022
AL#146 p.50
Richard Bozung
▪ Here’s a new kind of autoharp that can change keys in seconds without retuning or switching chord bars. It’s easy to build, and sounds great because you play it with your ear pressed to the side.
2022
AL#145 p.42
Sjaak Elmendorp
▪ Here’s the story of a big guy and his little balalaika. After rashly promising a friend that he would make a balalaika although he knew nothing about the distinctively triangular Russian instrument. We’ve all been there, right? Sjaak went on to explore and build the rare descant member of the family. Mentions balalaika player Jan Van der Hoogt.
2021
AL#142 p.4
Gerry Hayes
▪ A broken guitar string can be more than just annoying, if it punctures your skin and sticks in your bone.
2019
AL#138 p.69
Fan Tao
▪ Can you avoid excessive string tension in a long-scale harp guitar?
2019
AL#138 p.70
James Condino
▪ Can you avoid excessive string tension in a long-scale harp guitar?
2019
AL#138 p.70
Gregg Miner
▪ Can you avoid excessive string tension in a long-scale harp guitar?
2019
AL#137 p.32
Gregg Miner
▪ Ready for an Americana-infused, vintage-lutherie, history-detective-style nerdfest? Yes, that old joker Orville Gibson is still full of surprises, even now, a century after his death. We have a lot to learn about string material, tension, intention, and nomenclature. Not to mention marketing and musical snobbery.
2019
AL#136 p.69
Walter Carter
▪ What’s the deal with deep V-shaped necks on old guitars?
2019
AL#136 p.69
James Buckland
▪ What’s the deal with deep V-shaped necks on old guitars?
2018
AL#134 p.69
Fan Tao
▪ How do I adjust string gauge to keep playing feel constant when changing scale length?
2018
AL#133 p.70
Andy Powers
▪ Thoughts about short-scale guitars.
2018
AL#133 p.22
R.M. Mottola Mark French
▪ Mark French was a kid who took guitar lessons and paid the guy at the music store to change his strings. He went on to be an aerospace engineer, but with all that book learning he still did not know how guitars worked. Now he teaches college courses on guitar making and hangs out with captains of industry at Fender and Taylor.
2017
AL#132 p.30
Graham McDonald
▪ Mandolins have come in a wide range of sizes, shapes, and styles in over 350 years of history. And while you are not likely to stumble upon the kind of mandolin that Vivaldi wrote for, you may find yourself looking at a century-old American factory-made cutie like this Smurf-head Regal, resplendent in muliple pearloids. This article gives you a quick introduction to the rich diversity in the great Family of Man(dolin).
2015
AL#124 p.71
David Cohen
▪ Would a guitar be twice as loud if it to be all strung in double unison courses? The short answer is no. Dr. Dave gives the long answer.
2014
AL#120 p.70
Fan Tao
▪ Determining whether to use wound or plain strings for odd-sized plucked instruments.
2012
AL#109 p.67
Mark French
▪ Using disposable foam earplugs to dampen guitar strings.
2012
AL#109 p.66
Michael Grossman
▪ Securing classical guitar strings with a substitute for ball-ended nylon strings.
2010
AL#102 p.68 read this article
Neil Kok
▪ Modifying the saddle to remedy a guitar string that is too sharp.
2009
AL#100 p.67
John Calkin
▪ A 12-fret parlor guitar with a sharp B-string.
2009
AL#100 p.48 read this article
Mark French
▪ Guitar strings need to be the “wrong” length in order to sound “right.” The gloriously simple math of Pythagoras doesn’t accomplish this. French uses lasers and spreadsheets, more numbers, and Greek letters to attempt to get closer.
2009
AL#100 p.67 read this article
James Buckland
▪ A historical probing on the first use of metal wire strings, which were probably adopted from keyboard instruments.
2008
AL#95 p.67
Thomas Knatt
▪ Proportional deformation of an instrument in relation to the amount of time the instrument is under tension and the effect of strategic de-tuning on this.
2008
AL#93 p.20 ALA6 p.64
Mike Doolin Kerry Char Gary Southwell Fred Carlson
▪ Harp guitars have undergone a renaissance of sorts, in construction alternatives as well as the music that is being invented for them. Players want banks of super treble strings as well as an extended bass range. Luthiers have responded with new designs and different string configurations that make newer harp guitars more user friendly, more graceful, and musically more pertinent. The four members of this panel discussion are among the leading small builders of these interesting mega-guitars. With 53 photos and 2 sketches.
This article has been nominated as one of the Guild’s best articles published before 2010.
2007
AL#91 p.68
Fan Tao
▪ Obscure information on original string types as fitted to early Orville Gibson archtops.
2006
AL#87 p.65
R.M. Mottola
▪ A string that can be put on a 17″ scale length instrument with an after length to the tailpiece of about 6″ that is strong enough to reach a mandolin E tuning without breaking.
2005
AL#83 p.52 BRB7 p.532 read this article
C.F. Casey
▪ The reviewer notes that this book is more about harp construction theory than about actual construction techniques, but decides that that is where the emphasis should be. He notes that the section of string length vs. string tension is especially useful, and that the book as a whole should have an important place on any harp makers’ reference shelf.
2004
AL#79 p.6 BRB7 p.206
R.E. Brune
▪ In a sense Brune is laying down the law for successful classical guitar making. Much of it will be useful to any builder, and all of it is interesting because Brune is an interesting man who has his thoughts together. Not to mention that he’s a heck of a luthier with a deep background in the history of his craft. With 30 photos and 8 diagrams. Mentions Santos Hernandez, Marcelo Barbaro, Ignacio Fleta, Hermann Hauser, Sr.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
2003
AL#74 p.30 BRB7 p.56
Franz Elferink
▪ A variety of forces begun by simple string tension not only make our instruments function but may eventually tear them apart. With a little math we can determine what those forces are and sort of decide if our archtops are beefy enough to withstand them. With 3 drawings.
2003
AL#73 p.36 BRB7 p.14
Jon Sevy
▪ This piece is aptly subtitled “Rules of thumb for approximating changes in the size of braces, tops, and strings,” which sums it up nicely. Our teachers promised us that math wouldn’t be irrelevant in our futures, and here their words come back to bite us. Sevy obviously believed them, and here presents some “easy” formulas for calculating the results of changes in size we might make in our instruments.
2003
AL#73 p.50 BRB7 p.24
Nathan Stinnette George Wunderlich
▪ Wunderlich builds minstrel banjos, recreations of banjos made before the various factories turned them into standardized items that standardized the way we all think about the banjo. With 6 photos.
2000
AL#61 p.64 BRB6 p.113
R.E. Brune
▪ Info on typical string clearances at the 1st and 12th frets on a flamenco guitar, based on GAL plan #42 (1951 M. Barbero) by R.E. Brune.
2000
AL#61 p.61 BRB6 p.448
Michael Breid
▪ Putting banjo strings in a fly-tying vise to prevent them from making small grooves in the tailpiece.
1998
AL#56 p.64 BRB5 p.309
Jeffrey-R. Elliott
▪ The variables that influence the ‘feel’ or playability of instruments with the same scale length, string gauge, and setup.
1997
AL#51 p.6 BRB5 p.86
Ralph Novak
▪ Scale length is seldom used as a design criterion to achieve a given tone, but Novak shows that a given set of strings behaves differently according to the scale length it is stretched over. There are reasons to change other than player comfort. Impress your friends with your knowledge of the evil clang tone. With 6 graphs and 2 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#49 p.57 BRB5 p.193
John Calkin
▪ An abbreviated chart from Howie Mitchell’s ‘The Hammered Dulcimer’ for spring brass and phosphor bronze wire.
1995
AL#42 p.62 BRB4 p.492
Filippo Avignonesi
▪ An unproduced design for a string tension simulation jig.
1995
AL#41 p.29 BRB4 p.137
Debbie Suran Nicholas-Von Robison
▪ Suran’s design allows for the least amount of tension over the side bridges, which contributes to instrument stability. A full-scale instrument plan. See the GAL website for a low-rez preview.
1994
AL#39 p.58 BRB4 p.442
Michael Darnton
▪ Darnton tells what to look for if a certain string breaks consistently, and how to remove a firmly attached violin neck.
1994
AL#37 p.26 BRB3 p.352 read this article
Michael Darnton
▪ And you thought you knew all there was to know about making that fiddle play. Darnton continues his instruction from AL#35. This time he tunes and fits the bridge, strings, tailpiece, saddle, and end button. With 13 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#36 p.26 BRB3 p.410 read this article
David Golber
▪ The chief difference between the Hardanger and a normal violin is its use of sympathetic strings, though other differences abound. Ornate decoration is also usual. Golber offers a good description of a typical Hardanger and how to set it up.With 9 photos and a number of drawings.
1993
AL#36 p.58 BRB3 p.446 read this article
Michael Darnton
▪ Darnton discusses classical violin strings and a timesaving method of cutting the purfling slots.
1993
AL#36 p.63
John Doan
▪ Obtaining the extended bass strings for a Dyer harp guitar
1993
AL#35 p.6 BRB3 p.352 read this article
Michael Darnton
▪ To the uninitiated, violin setup seems to have way too many steps for the small number of moveable parts involved. Taken one step at a time, the mystery falls away. Darnton explains the tools and procedures he uses to get the most out of a violin. This segment includes fitting pegs, correcting problems with the nut, making a fingerboard, and fitting a soundpost. Part Two is printed in AL#37. With 30 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#34 p.24 BRB3 p.334 ALA6 p.30
Jonathon Peterson
▪ In AL#29 Peterson looked back at the harp guitar. This time he takes a forward look. A number of luthiers find fascination and a new potential in the big beast, and this is the best look at their results to date. With 28 photos and 8 detailed drawings. Also available is GAL full-scale Plan #34, the Klein solidbody electric harp guitar.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#31 p.56
Tim Olsen
▪ A world-renowned luthier decides to make strings his own way.
1991
AL#27 p.26 BRB3 p.100 read this article
James Flynn
▪ This instrument is a unique and graceful-looking Russian folk psaltery, a sophisticated version of the lap harp grade schoolers play by sliding numbered sheet music under the strings.
1991
AL#27 p.34 BRB3 p.108 read this article
Ronald-Louis Fernandez
▪ This instrument is a lovely looking cittern, sort of a big mandolin with 12 strings. The traditional tuners are unique, compact, and distinctly ungraceful, but they allow—indeed, encourage—the use of a wonderfully distinctive headstock. With 16 photos.
1991
AL#25 p.59 read this article
John Decker
▪ Guitarron strings are available from Pimentel Guitars.
1989
AL#20 p.22 BRB2 p.320
James Rickard
▪ Life inside the D’Addario company. With 25 photos and 3 drawings.
This article has been nominated as one of the Guild’s best articles published before 2010.
1988
AL#16 p.50 BRB2 p.197
Frederick-C. Lyman-Jr.
▪ Lyman examines D’Addario Nylon Core Upright Bass Strings as well as Savarez “Corelli” strings.
1988
AL#13 p.40 BRB2 p.20
J. Jovicic O. Jovicic
▪ This is a scientific analysis of how variations in picking a note change the response of the classical guitar. Translated from the French.
1987
AL#9 p.36 BRB1 p.334 read this article
H.E. Huttig
▪ Have you ever wondered how cat gut strings were named? This article suggests an answer as it delves into some string facts and fictions.
1986
AL#8 p.35 BRB1 p.463
Francis Kosheleff
▪ Kosheleff changes the treble quality of his classical guitars by using three steel strings run through the standard bridge and then attached to a tailpiece.
1986
AL#8 p.47 BRB1 p.296 read this article
Al Stancel
▪ Stancel offers an interesting potpourri of violin information concerning steel wool, bow bugs, tuning pegs, appraisers and the IRS, appraiser scams, and the dangers of steel strings to old fiddles.
1987
AL#9 p.3 read this article
Ernest Nussbaum
▪ Nussbaum offers corrections to the “Fiddle Facts” article found in AL#8.
1986
AL#5 p.7
Michael Knutson
▪ Knutson makes a correction to his earlier letter about wire strength and string tension printed in AL#4 (which was a response to an article in AL#2).
1986
AL#5 p.36 BRB1 p.184 read this article
Frederick-C. Lyman-Jr.
▪ Lyman compares different makes of strings for the bass viol.
1985
AL#4 p.22 BRB1 p.116 read this article
Robert Cooper
▪ Cooper’s lecture tracks his own development as a lute maker and the instrument’s return to historically accurate models. Mentions Hermann Hauser II, a number of performers, which designs and glues are preferable, how to remove a neck when necessary, and briefly discusses strings.
1985
AL#4 p.3
Michael Knutson
▪ Knutson suggests changes to a string tension formula previously published in AL#2.
1985
AL#2 p.42 BRB1 p.78
Graham McDonald
▪ McDonald gives formulae and graphs to determine appropriate steel string gauges for nonstandard scale lengths.
This article has been nominated as one of the Guild’s best articles published before 2010.
1984
DS#275 BRB2 p.418
Nicholas-Von Robison
▪ This is a physics of sound primer for the hammered dulcimer.
1980
DS#140 BRB2 p.209
Bud Ingraham
▪ Ingraham uses guitar bridge pins to fasten the ends of his dulcimer strings. With a pair of drawings.
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.
1979
DS#114 BRB2 p.236
Edward Damm
▪ By using a collection of drawings the author demonstrates many ways to string the hammered dulcimer.
1975
DS#17 BRB2 p.105
Joseph Valentich
▪ The scale of instrument and string tension, string materials and string winding, core wire and wrapping wire size, and acoustic and electric strings for application to ethnic fretted instruments.