Tag Archives: Wyszkowski¸ Paul
H.L. Wild
1986
AL#7 p.26 BRB1 p.250 read this article
Paul Wyszkowski
▪ Wyszkowski describes his visit to H. L. Wild and provides some background information about the legendary tonewood dealer.
The Kasha Question
1986
AL#6 p.45
Paul Wyszkowski
▪ Wyszkowski offers a luke-warm acceptance of the potential of the Kasha guitar as interpreted by Richard Schneider.
Why I Am a Guild Member
1985
AL#4 p.51
Paul Wyszkowski
▪ Wyszkowski, a member of the GAL Board of Directors, gives a pep talk about the advantages and philosophy of GAL membership.
Practical Guitar Maker’s Bibliography
1985
AL#3 p.19
Paul Wyszkowski
▪ Sixty books and articles dealing with guitar acoustics are rated for legitimacy, clarity, and usefulness.
Review: The Science of Sound by Tom Rossing
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.
Letter to the Editor: Brune’s Role of Science in Lutherie
1985
AL#3 p.2
Paul Wyszkowski
▪ Wyszkowski rebuts R. E. Brune’s criticism of the work of Dr. Kasha in AL#1 and mentions the work of Richard Schneider, then goes on to counter a criticism of the GAL.
Lutherie’s Contribution to Science
1985
AL#3 p.17
Paul Wyszkowski
▪ Wyszkowski submits that the generations of luthiers have intuitively followed the scientific method.
Letter to the Editor: Critique of Article in Vol. 12 #4
1985
AL#1 p.5
Paul Wyszkowski
▪ Wyszkowski defends assertions he made in a previous article (Vol. 12, #4, GAL Quarterly) concerning sound radiation of the (1,0) mode in the classic guitar. His assertion is based on the work of William Strong and Graham Caldersmith. Criticism was made by Gila Eban.
To Make a Good Guitar
1984
GALQ Vol.12#2 p.25
Paul Wyszkowski
▪ Some inklings garnered over the years of reading, listening, thinking, and building, to make a good guitar.
Guitar Sound: What You Can Do About It
1984
GALQ Vol.12#4 p.24
Paul Wyszkowski
▪ A stab at comprehensively pulling together the information on acoustic vibrations of guitars for use by the practical luthier.
Remarkable Development of the Bdoingbink
1984
GALQ Vol.12#4 p.30
Paul Wyszkowski
▪ Of the thousands of varieties of stringed instruments made on this planet, the bdoingbink is one of the least known.
Bridge Compensation Theory
1984
DS#270
Paul Wyszkowski
▪
The Out-House Apprentice
1983
GALQ Vol.11#2 p.16
Paul Wyszkowski
▪ Richard Schneider accepts Wyszkowski as his ‘outhouse apprentice’.
Varnishing Rosewood
1983
DS#249
Paul Wyszkowski
▪ One way of finishing rosewood, for those who prefer a varnish finish to lacquer or don’t have lacquer spray facilities.
Luthier on the Roof
1982
GALQ Vol.10#3 p.8
Paul Wyszkowski
▪ Wyszowski spends 4 days in Richard Schneider’s studio, where he works with his 3 apprentices.
Structural Considerations
1983
DS#235 BRB2 p.452
Paul Wyszkowski
▪ It’s well known that designing a guitar for longevity and designing a guitar for best performance may drag the designer in opposite directions. Guitar construction is a compromise (like life itself). The author takes a closer look at the situation. With 1 drawing.
A Fine and Proper Beauty
1982
GALQ Vol.10#1 p.23
Paul Wyszkowski
▪ In all the languages of the world, the word guitar is of the feminine gender.
Education of a Luthier
1981
GALQ Vol.9#4 p.29
Paul Wyszkowski
▪ Where does it begin? With sound.
Calculating Fret Scales Part 2
1982
DS#214
Paul Wyszkowski
▪ Calculating fret scales with standard calculators with constant divisor and four key memory.
Thoughts on Soundboard Vibration
1981
DS#200 read this article
Paul Wyszkowski
▪
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.
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.