Tag Archives: Brown¸ Lawrence D.
Sharing
1986
AL#6 p.55 BRB1 p.231
Lawrence-D. Brown
▪ Brown contends that the best luthiers are willing to share their knowledge and that mediocre craftsmen are not, then urges everyone to contribute to American Lutherie.
Repairing the Viola da Gamba
1986
AL#7 p.46 BRB1 p.246
Lawrence-D. Brown
▪ Brown gives advice about the special repair needs of very old instruments.
Trends: 1985 Lute Society Seminar
1985
AL#3 p.22 read this article
Lawrence-D. Brown
▪ Brown comments on trends in lute making toward Baroque instruments, all-gut stringing, larger body sizes, and lower pitches.
Lute Action
1983
DS#247 BRB2 p.394
Lawrence-D. Brown
▪ It is perhaps true that a good playing action must be built into the instrument, and that less adjustment can be done to a finished lute than to other instruments. Brown explains lute action adjustment from the perspectives of both the builder and the repairperson. With 9 illustrations.
A Personal Interview with Lawrence Brown
1982
GALQ Vol.10#2 p.22
Lawrence-D. Brown
▪ Brown is the owner of Lute and Guitar Shop in Cincinnati, Ohio.
A Tale of Two Shops
1982
GALQ Vol.10#3 p.36
Lawrence-D. Brown
▪ Brown dissolves the Lute and Guitar Shop and expands his instrument making business into a larger building.
Finishing Lute Soundboards
1982
DS#229 BRB1 p.265 read this article
Lawrence-D. Brown
▪ Historically, lute soundboards were left unfinished in order to produce the best sound. However, the raw wood collected dirt at a rate that is unacceptable to contemporary musicians. Brown has found a compromise using lacquer that doesn’t affect the sound production of the instrument.
Grinding, Honing, and Stropping
1982
DS#217 LT p.18
Lawrence-D. Brown
▪ Clean work requires sharp tools.
This article has been nominated as one of the Guild’s best articles published before 2010.
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.
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.
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.
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.