Searchable Abstracts
Of All Available Guild of American Luthiers Publications
Current as of January 1, 2009
The up-to-date version will always be available for download from the Guild’s Web page at www.luth.org.
By searching this document you can identify which GAL publications will be most useful to you and order them through our Web page at www.luth.org. Or, we will be happy to send paper order forms by snail mail. We do not take phone orders. You may contact us at:
Guild of American Luthiers
8222 S Park Ave
Tacoma WA 98408-5226
(253) 472-7853
orders@luth.org
Publications Included In This Document--------------------
American Lutherie magazine, #1 – #92 (1985 – 2007). All AL issues are abstracted here so that this document can serve as an index of your complete collection, but please note that American Lutherie #1 – #48 are out of print. AL#1 – #12 have been superceded by The Big Red Book of American Lutherie, Volume One. AL#13 – 24 have been superceded by The Big Red Book of American Lutherie, Volume Two. AL#25 – 36 have been superceded by The Big Red Book of American Lutherie, Volume Three. AL#37 – 48 have been superceded by The Big Red Book of American Lutherie, Volume Four. AL#49 – 60 have been superceded by The Big Red Book of American Lutherie, Volume Five. In the abstracts below, a reference to, for example, American Lutherie #10, page 47 would be abbreviated thusly: AL#10 p.47
Lutherie Tools, a 128-page hardback book published in 1990. Lutherie Tools is a compilation of GAL material on the subject of tools published before 1985, plus some new material. None of the material in Lutherie Tools is available in American Lutherie back issues. In the abstracts below, a reference to, for example, Lutherie Tools, page 55 would be abbreviated thusly: LT p.55
Lutherie Woods and Steel String Guitars, a 156-page hardback book published in 1997. Lutherie Woods is a compilation of GAL material published before 1985, plus some new material. None of the material in Lutherie Woods is available in American Lutherie back issues. In the abstracts below, a reference to, for example, Lutherie Woods, page 44 would be abbreviated thusly: LW p.44
The Big Red Book of American Lutherie, Volume One, a 500-page hardback book published in 1999. The Big Red Book One is a compilation of American Lutherie magazine, #1 – 12 (1985 – 1987). It also contains a considerable amount of GAL material published before 1985. In the abstracts below, a reference to, for example, The Big Red Book of American Lutherie, Volume One, page 401 would be abbreviated thusly: BRB1 p.401
The Big Red Book of American Lutherie, Volume Two, a 500-page hardback book published in 2000. The Big Red Book Two is a compilation of American Lutherie magazine, #13 – 24 (1988 – 1990). It also contains a considerable amount of GAL material published before 1985. In the abstracts below, a reference to, for example, The Big Red Book of American Lutherie, Volume Two, page 447 would be abbreviated thusly: BRB2 p.447
Historical Lute Construction by Robert Lundberg, a 280-page hardback book published in 2002, contains all of the material of Mr. Lundberg’s series which ran in 19 episodes between American Lutherie #12 and #38. Specific book pages are not referenced in the abstracts, as the material was somewhat reorganized for the book, as well as being indexed, outlined, and supplimented with appendices.
The Big Red Book of American Lutherie, Volume Three, a 500-page hardback book published in 2004. The Big Red Book Three is a compilation of American Lutherie magazine, #25 – 36 (1991 – 1993). In the abstracts below, a reference to, for example, The Big Red Book of American Lutherie, Volume Three, page 403 would be abbreviated thusly: BRB3 p.403
The Big Red Book of American Lutherie, Volume Four, a 500-page hardback book published in 2006. The Big Red Book Four is a compilation of American Lutherie magazine, #37 – 48 (1994 – 1996). In the abstracts below, a reference to, for example, The Big Red Book of American Lutherie, Volume Four, page 404 would be abbreviated thusly: BRB4 p.404
The Big Red Book of American Lutherie, Volume Five, a 500-page hardback book published in 2008. The Big Red Book Four is a compilation of American Lutherie magazine, #49 – 60 (1997 – 1999). In the abstracts below, a reference to, for example, The Big Red Book of American Lutherie, Volume Five, page 405 would be abbreviated thusly: BRB5 p.405
Abstracts--------------------
GAL publications are listed below in roughly chronological order of their original publication, so that as you search you should find increasingly current information.
LUTHERIE TOOLS
Inexpensive Thickness Gauge by Mark Rische
LT p.2
\tools\created
This simple wood-frame gauge may be all you need to build archtop instruments, though the finest increment it will read (probably) is 1/64” (the ruler is up to you). Cheapness and ease of construction are its reason for being. With 1 drawing.
Dial Indicator Caliper by T.E. Owen
LT p.2
\tools\created
The aluminum frame and dial indicator of this tool puts it in a whole other class of accuracy from the one above, and it should be at least $100 cheaper than its commercial counterpart. The hassle lies in cutting out the thick metal frame. Hardwood should be just as satisfactory if you have an object of known thickness to reset it by from time to time. With 1 drawing.
Bass Neck Angle Jig by Frederick C. Lyman
LT p.3
\tools\jigs \bass\viol
All the adjustments on this jig make it seem sort of rickety, but Lyman was the GAL’s bass guru for years and if he says it works, it works. With 1 drawing.
Fret Spacing Template by Tom Peterson
LT p.4
\fingerboard\fretboard \tools\created
To make this template you must know the fret spacing of one scale length and be able to lay it out accurately, but after you’ve done that you can very quickly plot the fret positions for any larger scale length with no math or measuring tools. Very slick! With 1 drawing.
Duplicating Fretboards by Tom Peterson
LT p.4
\tools\created \fingerboard\fretboard
With an accurate miter box and a slotted fingerboard you can easily make any number of boards with the same scale length. No muss, no fuss, no measuring. With 1 drawing.
Centerline Square by Donald L. Brown
LT p.5
\tools\created
Brown’s simple tool is used for marking any lines that must be square to the centerline of a flattop instrument plate, such as back braces or bridges. With 1 drawing.
Fluorescent Inspection Lamp by Kent Rayman
LT p.6
\tools\created
Light up the inside of your guitar for a good look. This lamp even fits through f-holes. With 2 photos and a diagram.
Mirror with Penlight by Tim Olsen
LT p.7
\tools\created
Try taping a tiny flashlight to your inspection mirror to light up the area you wish to scan. With 1 drawing.
F-Hole Light by C.F. Casey
LT p.7
\tools\created
This inspection light uses a flashlight battery and will even fit through a mandolin f-hole. With 1 drawing.
Round-hole Light by C.F. Casey
LT p.7
\tools\created
Try using a night light bulb to set your guitar aglow. Larger bulbs could be used with this rig, but the additional heat could be dangerous to your guitar. With 1 drawing.
Adjustable Work Lights by Tom Mathis
LT p.7
\tools\created
By combining a mike stand, a gooseneck, and a swivel lamp you can put light exactly where you want it.
Davis Electric Bending Iron by Ted Davis
LT p.8
\tools\created \bending
Even fine woodworkers might be thwarted by a project that combines metal work and electrical work. The reason to try it is the opportunity to save a sizable chunk of money. Davis’ iron uses a hot water heater element as a heat source, and it is as complicated as many of us will wish to tackle. It’s about as pretty and useful as any commercial unit, though, and the plan and photo should be all you need. It’s only fair to mention that a bit of the work is jobbed out to a machine shop.
Torch and Pipe Bending Iron by Tim Olsen
LT p.10
\tools\created \bending
This is 4 variations on the same theme: using a propane torch to heat a pipe on which to bend instrument sides. This is the easiest and cheapest way to get into the game. With 4 drawings.
Bending with a Flat Iron by Tom Mathis
LT p.11
\bending \tools\created
Mathis heated small pieces of binding on a laundry iron before bending. No starch, please.
Sheet Copper Oval by Larry Lundy and W. Daum
LT p.11
\bending \tools\created
The authors rolled up a thick tube of copper, bolted it to a board, and shot a propane torch into the back of it for bending ribs. They claim a couple of advantages over round pipe. With 1 drawing.
Lead Filled Beer Can by Dick Deneve
LT p.11
\bending \tools\created
The best thing you can do with a beer can is empty it. The next best thing might be to put a heating element in the empty can and then fill it with lead to make a bending iron.
With 1 drawing.
More Electric Bending Irons by Tim Olsen
LT p.12
\bending \tools\created
The focus here isn’t on the design of the iron, but on the source of heat. There is probably a heat element that you can find locally and adapt for the purpose, and Olsen offers some suggestions. With 3 drawings.
Heated bending Form by Hugh Manhart
LT p.12
\tools\jigs \tools\created \bending
The author bends his sides on a cold form after boiling them. He has added heat to the form to dry them quickly once they are bent. With 1 drawing.
Tool Steel by H.E. Huttig
LT p.14
\sharpening \tools\hand
A description of sharpening stones, and how to use and maintain them, follows a short history of steel and its principal alloys. This is a brief overview and doesn’t consider every sharpening technique, but it may be as much as any good woodworker needs to know. With 2 drawings.
Hardening and Tempering Steel by Al Carruth
LT p.16
\tools\created
Carruth describes the general process of identifying and heat treating a piece of steel for use in edged hand tools. It’s not as complicated as you might believe. Making your own chisels will make you feel like a magician.
Inexpensive Small Forge by David W. Shell
LT p.17
\tools\created
An ex-knife maker describes a simple forge that costs very little. By the time you are forging your own tools you have left most luthiers far behind you. In this day of designer tool catalogs its hard to find a tool you can’t buy, no matter how specialized, but you may find that forging steel offers an excellent outlet for the hairy beast, semi-civilized part of you that you never knew you had. With 2 drawings.
Grinding, Honing, and Stropping by Lawrence D. Brown
LT p.18
\sharpening
Everyone agrees that clean work requires sharp tools, but few descriptions of sharpening give a time frame for how long it takes. Neither does this one, but it does lend a feel for time passing as the work is described. There’s an Alabama basket maker who maintains that the first sharpening of a new knife takes at least an hour. So use this guide and hang in there, you won’t get the job done in a jiffy. With 3 drawings.
Power Sharpening by Shelly Sax
LT p.20
\sharpening \tools\power
You can sharpen tools in a jiffy if you have the right wheels for your grinder. Once the right wheels are installed perhaps the machine should then be called a polisher. All sharpening takes a knack, but power sharpening can be down right dangerous if your mind wanders off. But, no, it’s not cheating. With 2 drawings.
Sharpening Jointer Knives by Bill McCall
LT p.21
\tools\power \sharpening
Jointers are wonderful machines until they need sharpening. Resetting the blades in the machine is such a task that most shops let the blades become uselessly dull before they are reground, but McCall’s solution is to sharpen the blades while they are mounted in the machine. It doesn’t seem like a job for the timid, but it’s better than turning your jointer into a shelf for half-finished projects. With 1 drawing.
Japanese Water Stones by Dale Brotherton
LT p.22
\sharpening
Japanese woodworking and the associated tools have nearly reached a cult status in the US, and this has turned off some woodworkers who might otherwise benefit from a little knowledge of Japanese tools and techniques. Water stones have probably received the warmest welcome of all the imported traditional Japanese technology, and Brotherton offers an understanding of the stones and how they are used. With 1 photo.
Using Old Sanding Belts by Dick Deneve
LT p.23
\tools\power \sharpening
Putting metal to a sanding belt will quickly ruin it, but belts that are already worn by wood may have a life left for grinding metals. This short description will get you started.
Making a Carving Knife by Chris Burt
LT p.24
\tools\created
Today you can buy a kit for making knives such as the author describes --- think of an oversize carpenter’s pencil with a blade instead of a lead. Burt’s version is pre-kit and made from a straight razor. It’s more work, but it’s more in the DYI spirit. With 4 drawings.
Making a Small Chisel by David W. Shell
LT p.25
\tools\created
How about making a chisel from a file? It’s a lot of work, but the satisfaction level is high. You’ll need a forge (see LT p.17). If nothing else, you’ll come to appreciate why fine tools cost so much. At best, you’ll have a tool friend for life. With 1 drawing.
Crooked Knives by Nicholas Von Robison
LT p.26
\tools\hand \tools\created
Imagine you’re going to stab yourself in the stomach. That’s how your hand holds a crooked knife. It cuts on the pull stroke. Robison claims many lutherie uses for a crooked knife and explains how to make one. If you accidentally stab yourself in the stomach with it please don’t mention that you read about it here. With 2 drawings.
Using Old Bandsaw Blades by Dick Deneve
LT p.27
\tools\created
Recycle your worn bandsaw blades into useful hand tools. The author makes them into scrapers, handsaws, and knives for removing fingerboards. Pretty nifty.
Grinding Scrapers by James Fagan
LT p.27
\sharpening
Toss out your burnisher and sharpen your scrapers with a power grinder. Sounds unlikely, but the author swears by it
Woodcarver’s Scrapers by Louis DeGrazia
LT p.28
\tools\created \sharpening
These scrapers are made from table knives and are intended to scrape 3-dimensional items, not flat plates.
Razor Scrapers by Tim Olsen
LT p.29
\tools\created \sharpening
You can regrind single-edged razor blades into good little scrapers that will last longer than the raw blade. Here’s how.
Refret Saw by Donald L. Brown
LT p.29
\tools\created
Brown’s saw is a short length of Blitz saw blade mounted in a wooden handle, and used to clean out fret slots on a bound neck.
Thumb Gloves David Newton
LT p.29
\health
Cut the thumbs off a pair of gloves. Wear them while using a cabinet scraper. Now your thumbs shouldn’t suffer burns from the hot tool.
Three Tools for Bass Makers by Frederick C. Lyman, Jr.
LT p.30
\bass\viol \tools\created
The tools are a small electric chainsaw, a cheap block plane, and a Japanese saw rasp. The author uses the chainsaw for rough carving bass plates, the reshaped planes for finer carving of plates, and the saw rasp for truing fingerboards. With 3 photos.
Miniature Jeweler’s Saw by Donald L. Brown
LT p.31
\tools\created
The author made a saw frame with a 1” throat for work in tight places. It uses modified jeweler’s saw blades. With 1 drawing.
Using Small Wooden Planes by Al Leis
LT p.32
\tools\created \tools\hand
The author describes 4 of his shop-made planes. He gives no instruction for their construction, but gives a source (in 1979) for the blades. A brief instruction for making such planes is found in the following article. With 2 photos.
Making a Jointer Plane by Paul Estenson
LT p.33
\tools\created
Estenson supplies all-too-brief instructions for making a wooden jointer plane. The form of construction will lend itself to any type of wooden plane. With 1 diagram.
Fret Notching and Cutting Tool by Brian Watkins
LT p.34
\tools\created \fingerboard\fretboard
When Watkins submitted this article in 1981 there were no fret nippers on the market to trim fret tangs to fit inside the slot of a bound fingerboard. His solution was to build a bench-mounted beast of a tool that chopped the frets to length or trimmed the tangs for bound boards. The 3 diagrams make it look like quite a project.
Single Fluted Reamer by Alan Carruth
LT p.36
\tools\created \lute \pegs
Despite the contemporary proliferation of lutherie tools, making your own is still a reasonable idea, especially if you have more time than money. The author’s 1 diagram gives dimensions for a lute peg reamer, and the directions are clear. It sounds like it may take a fair amount of time, though.
Inexpensive Peg Shaver by Henry Aitchison
LT p.36
\tools\created \pegs
To make this peg shaper you must first have a reamer to make the peg holes (and the hole in the peg shaper). The shaper blade is made from a reground hacksaw blade.
Flushing and Beveling Fret Ends by Hank Schrieber
LT p.37
\fingerboard\fretboard \tools\created
The author’s tool is a file mounted in a cool handle that will either mill the fret ends square or ramp them to the angle of your choice (you have to choose during construction, the toll isn’t adjustable). With 2 drawings.
Making Aluminum Clamps by James Cassidy
LT p.38
\tools\clamps \tools\created
These clamps are for light duty, such as gluing a flattop bridge in place. The instructions are good, but no specs are supplied. You make them to fit the job in mind. With 1 drawing.
All Wood Cam Clamps by Dave Flager
LT p.38
\tools\clamps \tools\created
Cam clamps are a standard item in any lutherie shop. The author’s design uses a wooden shaft to support the clamp. This clamp is easier to make than the commercial variety and will suffice for most light duty, but isn’t as satisfying to use as commercial clamps. With 1 drawing.
Bridge/Bass Bar Clamp by J.R. Weene
LT p.40
\tools\clamps \tools\created \bridge\guitar \violin
Weene’s design is a wooden C-clamp intended for specialized uses. With 3 drawings.
Brace Gluing Cam by Phillip W. Walker
LT p.40
\tools\clamps \tools\created
The author’s clamp is a kidney-shaped chunk of plywood meant to be rotated inside a guitar body until it jams a brace back into place. This one wins the why-didn’t-I-think-of-that award for simplicity. With 1 drawing.
Two Quick Clamps by Charles A. Palis
LT p.41
\tools\clamps \tools\created \violin
The two clamps are a simple spool clamp for violins and a handscrew. With 2 drawings
Cello and Bass Clamps by Fred Battershell
LT p.41
\cello \bass\viol \tools\clamps \tools\created
This is simple instructions for a humongous spool clamp. With 1 drawing
Fret Clamp by Bob Gleason
LT p.41
\fingerboard\fretboard \tools\created
This tool is actually a caul for clamping frets into their slots before supergluing them in place. The caul clamps all the frets at once, assuring that the fret tops will be level (assuming that your caul is also true). With 1 drawing.
Clamping Lining with Clothespins by Bruce Scotten
LT p.42
\tools\clamps \tools\created
Clothespins make cheap clamps for gluing lining in place, but they are weak and the wrong shape. Here’s how to correct those deficiencies. With 1 drawing.
Dulcimer Gluing Jig by Tony Pizzo
LT p.42
\dulcimer\fretted \tools\jigs
This jig is actually an adjustable-shape mold for dulcimer assembly, though changing its dimensions will make it suitable for any instrument. With 1 photo and a drawing.
Lute Rib Clamp by Leo Anway
LT p.43
\lute \tools\clamps
This slick and simple system uses a guitar string and a mechanical tuner to hold lute ribs to the construction form during assembly. With 1 drawing.
Go-Bar Deck by Duane Waterman and David Sheppard
LT p.44
\tools\clamping
The go-bar deck is an elegantly simple method of clamping parts together, most often used for clamping braces to instrument plates. It’s cheap and easy to make and will awe your friends if they’ve never seen one before. Make sure it’s loaded up before you introduce them to it.
Vacuum Press by Reagan Cole
LT p.45
\tools\clamps
The author wins the DIY award for 1978. Vacuum clamp systems abound today, but they are expensive. This one utilizes an old refrigerator compressor and a shower curtain (not to mention a ton of ingenuity). With 3 drawings.
Making a Glue Pot by Wesley Wadsworth
LT p.46
\gluing \tools\created
Adapting kitchen items for use in the shop is always a clever way to tick off the cook and save some money at the same time. The author finds that a baby bottle warmer or something called a “hot pot” makes a good heater for hide glue, and he describes how to adapt a glass jar as the actual pot. Instructions for building a thermostat for the pot are also included at no extra charge. With 2 drawings.
Hide Glue Steamer by Elliott Burch
LT p.47
\gluing \tools\created \violin
The trouble with hide glue is that it cools so fast, often faster than clamps can be applied. The author says, “Heck, let it cool as fast as it wants!” His simple steamer rejuvenates the glue after it’s been applied and the clamps are in place. He claims that it won’t swell the wood or hurt a violin’s finish, either.
Bridge Plate Heating Tool by John M. Colombini
LT p.48
\repair\other \tools\created
This tool is a brass block mounted to a C-shaped handle. The block is heated and placed inside the guitar against the bridge plate. The arm of the handle tells you where you are and makes the rig manageable. Also included is a diagram for a steel hook used to pry off the bridge plate once the glue has softened from the heat. With 3 drawings.
Anesthesia Bag for Clamping by Joyce Westphal
LT p.48
\dulcimer\fretted \tools\clamps \tools\created
The author cuts 2-liter anesthesia bags into big rubber bands for clamping end blocks onto dulcimers. Perhaps this rig has to be seen to be appreciated, but unfortunately no picture is supplied.
Marquetry Sawing Table by J.C. Nelson
LT p.49
\tools\jigs \inlay \tools\created
Marquetry is a form of inlaying one veneer inside another before the entire assembly is inlayed or applied to another surface. This table aids in getting the pieces to fit together with no gaps. With 2 drawings.
Bow Tip Vise by Phillip W. Walker
LT p.49
\bow \tools\jigs \tools\created
This simple devise should make it easy to glue an overlay on the tip of a bow. With 1 drawing.
Pearl Cutting Vise by Charles Wearden and Robert Lenhart
LT p.50
\inlay \tools\clamps \tools\created
Pearl blanks that won’t hold still while they are cut contribute to broken blades. If you can’t get the hang of it you may find this foot-operated, spring-loaded vise to be just what Doctor Inlay ordered. With 1 drawing.
Guitar Body Vise by Duane Waterman
LT p.50
\tools\created \tools\clamps
When working on the sides of an instrument it’s often a great help to capture the body in certain positions. This stationary vise could be adapted to any instrument. It uses pipe clamp screws as the adjusting mechanism. With 7 photos.
Body Mold by Glenn Markel
LT p.52
\tools\jigs \tools\created
Markel’s design is a basic inside mold that houses the developing instrument body inside a frame of layered wood. More elaborate molds can be made, but this design has sufficed luthiers for hundreds of years. With 2 drawings
Instrument Molds by Bo Walker
LT p.53
\tools\jigs \tools\created
Walker’s inside mold is even more basic than Markel’s. It is little more than a deep plywood frame with a guitar-shaped hole in it. The finished mold uses no hardware other than a few screws. Using such a light mold is delightful, but necessitates the accurate bending of the ribs since a lot of clamping pressure can distort the mold. With 2 drawings.
Body Mold and Bending Form by Duane Waterman
LT p.54
\tools\jigs \tools\created \bending
The only real difference between this mold and the previous two designs is a flange that allows the mold to be clamped upright in a bench vise. However, Waterman goes on to make a side-bending form from the waste material of the mold. With 2 photos and 13 drawings.
Banjo Fifth Peg Press by John M. Colombini
LT p.57
\banjo \tuners \tools\clamps \tools\created
Most banjo fifth-string pegs are held in place by a collar of tapered splines that must be driven into a slightly undersize hole. The author’s design permits the peg to be seated with a C-clamp, rather than a hammer, definitely a step in the right direction. With 1 drawing.
Banjo Resonator Clamp Stand by James Gilbert
LT p.58
\banjo \tools\clamps \tools\jigs
This outfit is used for gluing arched resonator backs onto the resonator rims. That is, the arch is created by the jig while a series of toggle clamps secure the glue joint. With 2 drawings.
Tuning Machine Knob Remover by Robert Steinnegger
LT p.58
\tuners \tools\created
This simple but slick tool uses wedges to drive pressed-on plastic tuner knobs off the shafts. With 1 drawing.
Vise Accessories by Kent Rayman
LT p.59
\tools\created
The accessories are a taper attachment and protective jaws. While designed for the Versa-Vise, they can be adapted to any vise. With 3 drawings.
Brace Jacks by Kent Rayman
LT p.59
\tools\created \repair\other
Similar to machinist’s jacks, these jacks are used inside the guitar while gluing braces or to support the top while bridge work is being done. With 1 photo.
Dremel Rosette Attachment by Ted Davis
LT p.60
\tools\jigs \rosette
Davis’ jig uses an adjustable pin on the router base to register the router in a hole drilled in the center of what will be the soundhole. By sliding the pin about, a rosette cavity (or cavities) of any dimension can be created. With a photo and a drawing.
End Mill Cutters by Bruce Scotten
LT p.61
\tools\power \rosette \binding
The author recommends that luthiers try end mill cutters to machine channels for rosettes and binding.
Saddle Slot Dremel Base by Don Alfieri
LT p.61
\bridge\guitar \tools\created
The author adds nylon bolts to the bottom corners of his Dremel base while routing bridge slots. The tool rides on the bolt heads, raising the router above the level of the bridge. A very cool (not to mention elegantly simple) idea. With 1 drawing.
Routing Rosette Slots by John Spence
LT p.61
\tools\jigs \rosette
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.
Two Dremel Jigs by J.D. Mackenzie
LT p.62
\tools\jigs \binding \inlay
The first jig is a Dremel base used while cutting binding channels. The second is another base used to inlay decorative stringing of the face of headstocks. With 1 drawing.
Simple Rosette Slot Jig by J.D. Mackenzie
LT p.62
\rosette \tools\jigs
This is yet another design for routing rosette slots, though it looks rather more cumbersome to set up than others. It uses a full-size router and indexes off a pin in the center of the soundhole. With 1 drawing.
Router Guide Base by Al Leis
LT p.63
\tools\jigs \binding \rosette
Complexity and close-tolerance adjustability seem to go hand-in-hand in this sort of jig, so this version may be a bit more time-consuming to make. On the other hand, it looks more useful than some of the others. The jig uses a full-size router to create binding and rosette slots. With 3 drawings.
Archtop Routing Jig by Rion Dudley
LT p.65
\tools\jigs \binding
Obviously, routers won’t sit flat on an archtop plate. So how can we cut those pesky binding slots? This router guide registers on the sides of the guitar rather than the plates. It is intended for the Dremel tool, though the idea will work just as well with a larger router. With 2 drawings.
Pickup Routing Fixture by J.V. Buehrer
LT p.66
\guitar\electric \tools\jigs
Unlike contemporary pickup routing templates, which are the size and shape of the desired cavity, the author’s design is a frame of wood that the entire router sits into. The amount of travel inside the frame dictates the size of the cavity made in the guitar. Buehrer’s frame specs are for a router with a round base 6” in diameter. A formula is given for laying out frames of different sizes for different needs. It’s harder to envision the finished cavity with this system, but the idea is perfectly sound. With 1 drawing.
Router Jointing Jig by George Gawlik
LT p.67
\tools\jigs
Jointing the center seam of instrument plates with a router is a perfectly sensible idea. Gawlik’s design is pretty complicated, though. With 1 drawing.
Peghead Splining Jig by Jim Williams
LT p.68
\tools\jigs \repair\neck
Broken headstocks sometimes require more than glue for a permanent repair. With a router and this jig splines can be added to the repair on either side of the truss rod. With 2 drawings.
Router Templets by James Cassidy
LT p.69
\guitar\electric \tools\jigs
Templets of this kind use bushings on the router base as a cutting guide. The templates must be accurately made as an oversize version of the actual hole to be made in the guitar. Modern templates use a guide hole of actual size and require the use of a pattern maker’s bit to cut the cavities. Cassidy’s design will work fine, it’s just harder to lay out. With 4 drawings.
Ruck-Brune Sanding Machine by Derek Iverson
LT p.70
\tools\power \tools\created
A good thickness-sanding machine will turn your shop life around. A bad one will only make it more miserable. Iverson’s was the first report on a truly useful shop-made sander at a time when there were no inexpensive commercial units to be had. This design requires machine shop work and some welding, and there is no power feed. Power feed is nice but hardly a requirement on a machine intended for limited production. With 2 photos and 4 drawings.
Variation and Taper Sled by Tim Olsen
LT p.72
\tools\power \tools\created
Variation on the Ruck-Brune sander, that is. The more information you have on keeping your beast up and running, the better. The taper sled is for producing a long board with a tapering thickness. With 4 drawings.
Balanced Steel Drum Variation by Kent Rayman
LT p.73
\tools\power \tools\created
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. If you can’t weld or run a metal lathe you’ll have to job out much of the work, and it won’t be long before you’ve spent enough money to buy one of the cheaper machines available today. With 5 photos and a drawing.
A Power Feed Model by Hank Schrieber
LT p.74
\tools\created \tools\power
The power feed for this drum sander uses a separate motor, a very good idea. This version has no dust collector, so one must be adopted from the previous articles. Welding plays a large role in the construction of this machine, as well. With 6 drawings.
A Small, Low Cost Sander by Pete Estes
LT p.76
\tools\power \tools\created
This thickness sander is of all-wood construction, and is intended for lighter duty than the previous models. It’s made with a 12” roller. You’ll no doubt find that it’s still better than no thickness sander at all. With 1 photo.
Small, Low Tech Sander by Art Smith
LT p.77
\tools\power \tools\created
Smith’s is another light duty thickness sander, this time using a 10” sanding drum. With 3 drawings.
Dust Free, Open Sided Sander by Al Leis
LT p.78
\tools\created \tools\power
This mini-thickness sander is a whole other breed than the ones in the previous articles. It utilizes a 6” drum arbor-mounted on an electric motor and covered with a dust collection system. Since it is open-sided it can sand a panel up to 12” wide, but it is only capable of light duty. For sanding small stock, however, it should be a delightful little machine. With 3 photos.
Davis Precision Thickness Sander by Ted Davis
LT p.79
\tools\power \tools\created
This is the most official-looking of all the shop-made sanders included here, though others may prove to be heavier-duty. It requires no welding or machine shop work. The sanding drum is a full 18” wide, and the machine incorporates power feed. If you’re determined to build your own, this may be the machine to copy. If your determination is limited you might want to consider renting time on a production sander from a machine shop. With a photo and 2 pages of plans.
Vertical Belt Sander by Rolfe Gerhardt
LT p.82
\tools\power \tools\created
The author remounted his 6x48 belt sander on edge, and found that it offered a variety of new uses. With 1 drawing.
Making an Adjustable Bed by James Cassidy
LT p.82
\tools\power \tools\created
Make an adjustable work surface for an edge-mounted belt sander to assure you can get it properly perpendicular. With 2 drawings.
Edge Sander Jig by Dave Flager
LT p.83
\tools\jigs \tools\power
Flager made a table to mount his portable belt sander on edge. With 1 drawing.
Peghead Joint Sanding Jigs by John Zuis
LT p.83
\tools\jigs \tools\power
One method of neck construction calls for making the neck and the headstock from different pieces of wood. The author’s jigs are designed for making the necessary joint. The first is intended for the Shopsmith disk sander and the second is for any other disk sander. With 2 drawings.
Sandpaper Hints by Boyd Butler
LT p.84
\tools\hand \tools\created
Butler describes a tool that aids in tearing sandpaper sheets into useful sizes, and a sanding board for use in close places.
Sanding Drum Hints by Rich Westerman
LT p.84
\tools\power
Westerman mentions a source of quality cloth-backed abrasive rolls, and a belt cleaning material.
Sanding Drum Hints by Tom Peterson
LT p.84
\tools\power
The author suggests that spraying them with a silicone lubricant can extend the life of power abrasives.
Drum Sanding Hints by Tim Olsen
LT p.84
\tools\power
Olsen says that sanding drums can be cleaned of wood resin by an application of Plexiglas. The resins stick to the melted plastic and fly off the drum.
Sanding Drum Tips by J.D. Mackenzie
LT p.84
\gluing \tools\power
The author recommends a glue for adhering sandpaper to sanding drums.
22” Three-Wheel Bandsaw by Al Leis
LT p.86
\tools\power \tools\created
The author made his bandsaw from a kit, customizing it to fit his needs. It cost less than $200 (in 1983) and gave him a machine with which he is very happy. With 2 photos and a drawing.
Sharpening Bandsaw Blades by Tim Olsen
LT p.87
\sharpening \tools\power
This is one of the most useful articles in the book. The sharpening method described is quick and easy (especially if you already own a Dremel tool), and will extend the life of your bandsaw blades by five of six times. With 1 drawing.
Bandsaw Dust Collector by Tim Olsen
LT p.88
\health \tools\power
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.
Lining Cutting Jig by William Spigelsky
LT p.88
\tools\jigs
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.
Lute Neck Block Fixture by Brian Derber
LT p.88
\lute \tools\jigs \neck
This bandsaw jig will cut the facets on a neck block to which the ribs of a lute are glued. Despite the 6 drawings this article is confusing.
Curve-Cutting Bandsaw Fence by Tim Olsen
LT p.90
\tools\jigs \tools\power
A hinged fence can be used to cut accurate curved pieces. Changing the angle of the hinge changes the radius of the curve. With 3 drawings.
Tuner Roller Hole Jig by Derek Iverson
LT p.91
\tuners \tools\jigs
Iverson’s jig is for drilling tuner holes in the headstocks of classical guitars using plank-mounted machines. With 2 drawings.
Purfling Groove Cutter by William Spigelsky
LT p.91
\binding \tools\power \tools\created
It’s a pleasure to witness the work of an original thinker. This binding cutter is comprised of a stack of small slitting saw blades mounted on a bolt that mounts in the drill press. The rig indexes off the top or back plate and cuts a channel equal to the stack of blades. It looks pretty foolproof, and may be less likely to chip than a router bit. With 1 drawing.
Bridge Slot-Cutting Jig by Thomas Rein
LT p.92
\tools\jigs \bridge\guitar
The jig is adjustable for the amount of compensation. It is intended for use in a drill press using an end mill as a cutter. With 1 drawing.
Making Brad-Point Bits by Tim Olsen
LT p.92
\tools\created
This article may be of more historical significance than anything else. Few people would make their own drill bits today. They don’t have to, since so many specialty tools are available through the mail, or even at a local hardware store. This was hardly the case in 1979 when Olsen wrote this piece. With 6 drawings.
Fret Bending Tool by Brian Watkins
LT p.94
\fingerboard\fretboard \tools\created
The author’s tool accurately bends individual frets by using a drill press as press. Such a tool is largely out of date today with the advent of tools that bend a whole stick of fretwire in seconds. With 1 drawing.
Archtop Carving Gauge by Glenn Markel
LT p.95
\tools\created \guitar\archtop
Markel’s gauge is little more than a cone mounted to the drill press table. Adjusting the table height or the quill lock allows the drilling of holes that will guide the carving of the plates. Or, if one side is already carved, one setting will mark the plate to an even thickness. With 2 drawings.
Fretboard Jig by Robert Lenhardt
LT p.96
\fingerboard\fretboard \tools\jigs
This jig will cut the taper on a fretboard using a table or bandsaw, and then guide the slotting of the board on a radial arm saw. With a bit of ingenuity a table saw could do the whole job. With 1 drawing.
The Shopsmith by Des Anthony
LT p.98
\tools\power
Combination tools are seldom as useful or fun to use as a collection of specialized machines. But if you have little room and less money they may be the best choice. The Shopsmith is a popular brand of combination tool, and Anthony is enthusiastic about its use in a lutherie shop.
Jig For Cutting Side Slots by William Spigelsky
LT p.99
\tools\jigs \guitar\classical
With this jig a radial arm saw is used to cut the slots in the neck into which the side of a classical guitar are fit.
Jig For Cutting Banjo Neck Angle by James Gilbert
LT p.100
\tools\jigs \banjo
This radial arm saw jig will radius the face of a banjo neck to 10” and cut it to the desired angle. However, it doesn’t cut the relief for the flange or tension hoop. With 2 drawings.
Miniature Table Saw by Duane Waterman
LT p.101
\tools\created \tools\power
Cutting small pieces is more fun (and safer) on a small saw. This simple table saw uses a 3” blade mounted directly on the shaft of a small motor. The version in the 2 drawings has a table that is not adjustable for blade height.
Lining Strips by Tim Olsen
LT p.101
\tools\jigs
This table saw jig is intended to evenly cut the kerfs in rectangular strips of lining.
Fingerboard Radiusing Jig by Ron Lira
LT p.102
\tools\jigs \fingerboard\fretboard
This table saw jig is a swing to the bottom of which a fretboard is mounted. Swinging the board over the saw blade cuts the radius.
George Vogl, Toolmaker by H.E. Huttig
LT p.104
\people \tools\hand
Vogl was a toolmaker who specialized in violin making hand tools. These three small pieces sketch what life was like for one group of Europeans after WWII reduced their life to a near pre-industrial state. And since violinmakers have always had a pre-industrial mindset, they got along quite well. With 1 illustration of old tools.
Factory Life by John Judge
LT p.106
\people \guitar\flattop
The author’s wonderful depiction of life in the Guild guitar factory during the mid-to-late ‘60s may open some eyes about what life is like in an instrument factory. Those who demonstrate that they like to work and can do it well will be given all they can handle and then some, probably with an undersized remuneration. Many will be locked in the same operation for years, but smart bosses are always watching for enterprising workers and will let the cream rise. For those few, factory work can be quite interesting. This is a delightful episode.
Two Production Machines by John Judge
LT p.108
\tools\power
More tales from the Guild factory from the same period of Judge’s life. The two machines are a power-sanding table that trued the edges of ribs to receive the plates, and a huge pin router.
A Survey of Seventeen Luthiers
LT p.114
\tools\hand \tools\power
This collection of luthiers lists the tools, machines, and supplies they find indispensable in creating the diverse work they do.
LUTHERIE WOODS and STEEL STRING GUITARS
Taxonomy and Nomenclature by Nicholas Von Robison
LW p.2
\wood\trees
It takes a good writer to make this stuff interesting, but Robison pulls it off. Common names are a lot more fun and will usually get you by, but in the end there’s nothing like knowing a few scientific names of trees to dazzle’em at cocktail parties. Be careful how you try it at guitar conventions, though, some of those guys are pretty hip, scientifically speaking.
Glossary of Basic Wood Terms by Hart Huttig and Nicholas Von Robison
LW p.6
\wood\trees
It seems like there’s 6 ways to say any particular thing about a piece of wood, and you might as well know them all. Here they are.
Top 40 Wood List by Nicholas Von Robison
LW p.10
\wood\trees \wood\hard \wood\soft
You could build guitars and never learn about more than 2 kinds of wood but, boy, would your guitars be boring. Forty kinds are likely more than you’ll ever use, but it’s better to be over-prepared than under. Includes range descriptions, scientific nomenclature, wood description, and uses in lutherie.
Wood for Instrument Making by David Sturgill
LW p.16
\wood\trees \wood\soft \wood\hard
This is not a wood-by-wood list like the above article, but a description of what is required of wood that has to serve the different functions in an instrument, and why certain varieties are most often chosen for those functions. Also includes information about harvesting and processing wood for instruments.
World Outlook, a Merchant’s View by Michael Gurian
LW p.21
\wood\hard \wood\soft
Gurian’s 1979 forecast for the future of lutherie woods was pretty much on the money. When he gave the lecture this piece was taken from he was perhaps the most important supplier of instrument wood, so he was in a position to know. The picture looked gloomy then, and certainly nothing has gotten better since.
Wood Bibliography by Nicholas Von Robison
LW p.23
\wood\hard \wood\soft \wood\other \wood\trees
Most of the objective information you’ll want to know about trees and wood has already been written down somewhere. This is a list of where to look.
Moisture Content by Greg Jackson
LW p.29
\wood\trees \humidity
We all want to work with dry wood, but the subject isn’t as cut-and-dried as you might think (sorry). Jackson has the lowdown on chemically bound water and free water in wood, and why air drying is no guarantee of anything in particular.
Quick Humidity Gauge by Anonymous
LW p.31
\humidity \tools\created
Make a wooden humidity gauge. Really! But you’ll need a hygrometer to build it by.
Acid Rain by Nicholas Von Robison and Perry Thomas
LW p.31
\wood\trees
There are still plenty of people who believe that acid rain, global warming, and ozone problems are hoaxes perpetrated by disturbed liberals with nothing better to do. If this outlook was reported today it would raise eyebrows, but it was 1984 and we were already in trouble. What are the odds that things have gotten better?
Harvesting Englemann Spruce by Dennis Coon
LW p.34
\wood\soft \wood\trees
Small companies that try to service the lutherie world usually struggle to make a go of it. Tonewoods are designer woods required to be nearly perfect in every way, so there is much loss during milling, but first perfect trees must be found, felled, and hauled out of the mountains. It’s hard work for small pay, but there’s a romance to it. And good reading, too. With 2 photos.
Early Englemann by Jan Callister
LW p.37
\wood\soft \wood\trees
Early as in an early supplier of Englemann. Luthiers and musicians have become so spoiled by wood suppliers that it’s a wonder that good top wood doesn’t cost more by now. This story is another example of what a small specialty lumber company has to go through.
Wood Salvaging Down Under by Des Anthony
LW p.38
\wood\soft \wood\other
Tonewood is where you find it, even if you find it in another instrument.
Selecting Australian Timbers by Lindsay Hewson and Jim Williams
LW p.39
\wood\other
If stringed instruments had been invented in Australia they would be very different than they are today. They might have an altogether kind of tone quality, and we'd be struggling to get Sitka to sound like celery top pine. Well, it’s the other way around, which will give you an idea of what Aussie luthiers have to go through to sound like the rest of the world.
Osage Orange by Ted Davis
LW p.41
\wood\other
Davis is a champion of mock orange as a tonewood, and his enthusiasm is catchy. This is just about as much info about it as you’re likely to find.
Bubinga by Roger Sperline
LW p.42
\wood\other
This is one of the first descriptions of this fine wood as a tonewood.
Wood Dust: Beware by Ervin Somogyi
LW p.43
\health
If the dust in your shop is out of control, then so is your health. Dust collection or elimination isn’t difficult. Somogyi explains the dangers and how he minimized them in his own shop.
Resawing on a 12” Bandsaw by James E. Patterson
LW p.45
\tools\power \tools\created
How to convert a Sears 12” bandsaw to cut guitar sets, and how to make a fence for it. With 5 drawings.
Resawing on a 14” Bandsaw by Peggy Stuart
LW p.46
\tools\power
Mostly this is about how to set up a Rockwell bandsaw for best resawing performance, though this will help you with any similar bandsaw. With 3 drawings.
Resawing on a 32” Bandsaw by Tim Olsen
LW p.46
\tools\power
In a small shop a saw this size qualifies as a Big Mamoo. This piece is more detailed than the previous two articles, and as a collection they should put you well on the way to avoiding those pesky tonewood suppliers. Or appreciating them, one or the other. Includes 6 diagrams.
Variables in Archtop Design by Jimmy D’Aquisto
LW p.50
\guitar\archtop
The final decade or so of the 20th century saw an explosion in the number of archtop makers and a maturation of the archtop guitar into a versatile instrument. D’Aquisto pioneered this development beginning just as this article was put to paper in 1979. He abandoned tone bars for an X brace, then manipulated all the variables mentioned here to expand the role of the archtop in contemporary music. With 13 photos.
Birth of the Packaxe by Francis Kosheleff
LW p.56
\guitar\other
Kosheleff invented a dozen ways to hinge or detach the guitar neck in order to make it travel-friendly. He describes the development of his travel guitars and offers some hints about how these patented guitars function. With a photo and 2 diagrams.
Resonator Guitar Construction by Dick DeNeve
LW p.58
\guitar\resophonic
The author builds a somewhat unorthodox Dobro-style guitar, though they look normal from the outside. His variations on the basic design are made to overcome weaknesses in vintage Dobros. Includes 2 photos of DeNeve guitars and 2 drawings.
Restoring a ‘20s Gibson L-O by Ted Davis
LW p.60
\guitar\flattop \plans \repair\crack \repair\other \restoration
This restoration included a new top, fingerboard, and headstock veneer, as well as the repair of numerous side cracks. Davis made a plan of the guitar while it was disassembled which is available as GAL full-size blueprint #6, though a scaled-down version is included with the article. Also includes a photo of the restored guitar.
Restoring a Martin Harp Guitar by Ted Davis
LW p.62
\guitar\harp \repair\neck \repair\crack \plans \restoration
This rare Martin required the creation of a new harp neck as well as the repair of many top and side cracks. The plans included are also available as GAL full-scale blueprint #7. Includes 5 photos.
Pearls Before Junk Dealers by Richard Irwin
LW p.66
\guitar\flattop \restoration
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.
Gallagher Factory Tour by Gerald W. Aquino and Don Gallagher
LW p.68
\guitar\flattop
Just like it says. With 4 photos and a drawing.
Life After the Dead by Rick Turner
LW p.70
\guitar\electric \binding \tools\power \gluing
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.
Klein Design by Steve Klein
LW p.74
\guitar\flattop \bracing\flattop
This is a history of Klein’s unusual steel string guitars, as well as a window into the mind of one of lutherie’s most creative thinkers. Includes 5 photos as well as a plan of the top of the guitar Klein built for Joe Walsh.
Making Pointy Rosettes by Tim Olsen
LW p.78
\inlay \tools\power
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.
Drill Press Rosette Grooves by Larry F. Stevens
LW p.80
\inlay \tools\power
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.
Cutting and Inlaying Pearl by James E. Patterson
LW p.80
\inlay \tools\hand \tools\power
This article compresses into less than 6 pages everything you need to know about cutting and inlaying shell, except for how to make up original designs. Creativity is a tough thing to teach. Includes 5 diagrams and 6 photos.
Copying Pearl Patterns by Robert A. Steineggar
LW p.86
\inlay \restoration
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.
Tinting Lacquer Marks Inlays by Michael Dresdner
LW p.86
\inlay
There are several ways to lay out an inlay pattern before routing, but this one might be the most accurate.
More Inlay Tricks by Tim Shaw
LW p.86
\inlay \gluing
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.
Gold Leaf by Nicholas Von Robison
LW p.87
\inlay
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.
Two Tips on Pearl Inlay by Steve Goodale
LW p.87
\inlay
The author offers a way to attach the pattern to the pearl, and a method of coloring the pearl.
Bending with a Paint Stripper by Al Leis
LW p.88
\bending \tools\created
Bending sides can be an intimidating process. It was especially so before the advent of the Fox bender. The author found a new method of applying heat to the wood to coerce the bend. With 6 photos to prove it works.
Removing Side Ripples by Don Musser
LW p.90
\bending \tools\jigs
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.
Making Florentine Cutaways by Eric Berry
LW p.90
\guitar\flattop
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.
Beware of “Regrind” Plastic by Anonymous
LW p.92
\binding
Plastic is often recycled in the factory, and various colors may be added to a basic mix. Plastic for instrument adornment is never supposed to be made this way, but it can happen. Your supplier should make good on it.
Fixing Shrunken Binding by Michael Breid
LW p.92
\binding \repair\other \restoration
The author has had good luck heating and stretching shrunken binding back to its original configuration. Here’s how.
Making Lining Strips-One by Rolfe Gerhardt
LW p.93
\bracing\other
The author uses a gang saw to produce kerfed lining strips in quick fashion. With a drawing and a photo.
Making Lining Strips-Two by Boyd Butler
LW p.93
\bracing\other \tools\power
How to jig up a bandsaw to kerf linings one strip at a time. With 1 diagram.
Making Ling Strips-Three by William R. Cumpiano
LW p.94
\bracing\other
Yet another way to make your own kerfed lining, with 4 diagrams of the procedure. More sophisticated than the previous two articles, but not necessarily a better way to go about it.
Deep Studding Top Cracks by Al Leis
LW p.95
\repair\crack \tools\clamps \tools\created
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.
Sanding Board Tip by Al Carruth
LW p.95
\tools\created
The author offers a simple trick for making flat-bottom sanding blocks. Includes a drawing.
Positioning Studs for Top Cracks by Mike Janoska
LW p.96
\repair\crack
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.
Removing Finish for Bridge Gluing by Tim Olsen
LW p.96
\bridge\guitar \gluing
Finish your guitar, clean off a footprint for the bridge, then glue it on. It’s easy, here’s how. With 1 sketch.
Modified Cam Clamp by John Colombini
LW p.97
\bridge\guitar \tools\clamps
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.
Splining Soundboard Cracks by Michael Dresdner
LW p.97
\repair\crack
Dresdner studs the crack, then compresses the edges of the top crack into a wedge shape into which a tapered spline is glued. This technique has become routine, but this is one of the first times it reached print. He also offers a recipe for touching up the new wood to a “vintage” color.
Gluing a Cracked Back or Top by Ted Davis
LW p.98
\repair\crack \gluing
This is a method for mending cracks in free, unbraced plates using only small nails and a workboard. Includes a drawing of the technique.
Nuts and Bolts for Bridge Gluing by Tim Olsen
LW p.98
\bridge\guitar \gluing \tools\clamps
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.
Post and Wedge for Clamping by Bill Colgan
LW p.98
\tools\clamps \repair\other \gluing
This is a slick way of regluing loose braces deep in an instrument where clamps can’t reach, and simpler than some other techniques we’ve seen. The drawing gives a good illustration of the concept.
Capo as Tool in Bridge Work by Tim Earls
LW p.98
\tools\clamps \bridge\guitar
Here’s a simple trick to keep slack strings out of the way while you work on the saddle. Especially helpful on 12-strings.
Flattop Bridge Removal by Jim Williams
LW p.99
\bridge\guitar \repair\bridge \tools\created
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.
Rebuilding the Tune-O-Matic by William Hatcher
LW p.99
\bridge\electric \repair\bridge
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.
Improved X Bracing by Don Musser
LW p.100
\bracing\flattop
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.
Top and Back Joints by Tim Olsen
LW p.101
\tools\clamps \gluing
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.
Gluing Pickguards by Robert Steinegger
LW p.102
\synthetics \gluing
Here’s a good trick for gluing pickguards to raw wood that let’s the ‘guard shrink without cracking the soundboard.
Transparent Pickguards by Lester DeVoe
LW p.102
\synthetics \gluing
The author likes transparent pickguards but doesn’t like commercial pickguard stock. Here’s how he makes his own.
Half-and-Half Tops by Harry Fleishman
LW p.103
\wood\soft \guitar\flattop
Perhaps Harry didn’t invent the guitar top made from two varieties of wood, but he has certainly made it a trademark of his instruments. The text explains the why of it, and the single photo offers a peek at one of Fleishman’s unique designs.
Calculating Fret Scales by Bob Petrulis
LW p.104
\fingerboard\fretboard \computers
The author gives you the math to lay out the frets for any scale length and demonstrates how to use a computer spread sheet to do the same operation a lot faster. With a drawing and two charts.
Calculating String Tension by Max Krimmel
LW p.106
\strings\tension
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.
Cutting Nut Slots with Strings by Michael Trietsch
LW p.106
\tools\created
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.
Nut Slotting Files by Michael Dresdner
LW p.107
\tools\hand \tools\created
In the “old days” you couldn’t buy a set of nut slotting files. They didn’t exist. The author used pattern makers files with parallel safety sides. He recommends learning about and adapting the tools from every trade that crosses your path.
Calculating Neck Angle Changes by Michael Dresdner
LW p.107
\repair\neck
All right, so you got the neck off of your flattop and you’re about to reset it. How much wood do you have to remove from the heel to achieve the proper correction? It turns out that you can calculate that figure, and here’s how to do it. With 1 sketch.
Adjustable Neck Joints by Larry Robinson
LW p.107
\neck
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.
Neck Relief by Philip Mayes
LW p.108
\fretboard
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.
Heat Pressing Necks by Tim Olsen
LW p.110
\neck
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.
Blackboard Eraser Polisher by Michael Dresdner
LW p.111
\fingerboard\fretboard \tools\created
Dresdner steals yet another tool from another discipline, this time for polishing frets after they’ve been shaped with a file.
Doodlebug Pad Polishers by Marvin Tench
LW p.111
\tools\created \fingerboard\fretboard
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.
Frets and Fingerboard Care by Randy Stockwell
LW p.111
\fingerboard\fretboard
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.
A Laminated Neck Design by Tim Olsen
LW p.112
\neck
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.
Truss Rod Repair on a Fender by Dave Gentry
LW p.114
\neck \fingerboard\fretboard \repair\neck
Fender’s unorthodox method of installing a truss rod makes the replacement of the rod a strange undertaking. Gentry’s technique is clever, and far less invasive than removing the entire fingerboard. With 2 drawings.
Splicing on a New Peghead by Tim Olsen
LW p.114
\repair\neck
Sometimes a peghead break is so traumatic that the best plan is just to toss the old one in the trash and start over. Here’s how (using mostly hand tools), and don’t be surprised if the rebuilt neck is better than the original. With 13 illustrations.
Fiberglass Headstock Repair by William Hatcher
LW p.117
\repair\neck \synthetics \gluing
Try this method of repairing a headstock break when you don’t trust Titebond to do the job. It involves extensive touchup work, however.
Routing Neck Dovetails by Larry Stevens
LW p.118
\guitar\flattop \neck
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. With 7 illustrations.
Removing Dovetails-One by John Thierman
LW p.120
\repair\neck
Steam out the neck with a tea kettle. With 2 illustrations. See also the next article.
Removing Dovetails-Two by Kent Rayman
LW p.120
\repair\neck
Steam out the neck with a pressure cooker. With 1 drawing. See the previous article and the next article.
Removing Dovetails-Three by Michael Dresdner
LW p.120
\repair\neck
Steam out the neck with a cappuccino machine. See also the previous 2 articles. This variation involves sawing off the fretboard at the body joint.
Neck-to-Body Joint by Garth Fleming
LW p.121
\neck
How about a locking mortise-and-tenon joint? Works like a dovetail with only half the hassle. With 2 drawings.
Adjustable Truss Rod by Jim Williams
LW p.121
\neck
Make your own Rickenbacker-style double rod. With 3 illustrations.
Spiritual Lutherie by Raphael Weisman
LW p.122
\philosophy
Build your Self while you build your instruments. Without the one, the other would be a pretty empty achievement.
Glorious Uncertainty by Nicholas Von Robison
LW p.123
\philosophy
The author maintains that if we knew that each piece of work was going to turn out perfectly there would be no reason to continue building. Maybe, maybe not. It depends on how narrowly our lives are focused. We should always be a beginner at something.
Learning Guitar Making by Tim Olsen
LW p.124
\philosophy \schools
Now that lutherie has boomed, is it best to attend a school to learn the trade? Or does self-education (and self-discovery) still make sense. It depends.
Apprenticeships by Jeffrey Elliott
LW p.124
\schools \philosophy
The author has been an apprentice and has trained apprentices. Before you face either situation you should read this to learn what you are getting into.
Building a First Guitar by Harry Coleman
LW p.125
\philosophy
The author went all out on his first guitar, using only the best materials he could find. Is this the best way to approach lutherie? He thinks so.
Pedagogue’s Lament by William Cumpiano
LW p.126
\philosophy \schools
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.
In Defense of the Amateur by Nicholas Von Robison
LW p.127
\philosophy
Amateurs, by definition, love what they do. Professionals may start out that way and then find out that it’s not so hunky-dory. Amateurs are free to discover, but professionals are locked into the expectations of their clientele. Are we building instruments or are we building a life? Just something to think about.
Lutherie Schools
LW p.128
\schools
A list of schools, organizations, and periodicals to help you find your way.
Sources of Supply
LW p.132
\wood\dealers
Where to buy your wood and tools.
Reviews
LW p.134
\reviews
Abstracts of reviews of books, videos, and periodicals related to the themes of this book.
Further Reading in American Lutherie
LW p.142
The material in Lutherie Woods is mostly pre-American Lutherie. This list of related articles will help bring you up to date.
BIG RED BOOK ONE
(pre-American Lutherie material)
Area Tuning the Violin by Keith Hill
BRB p.20
\philosophy \physics\violin \violin
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.
Violin Ribs/Latent Tension by John Meng
BRB p.25
\bending \violin \physics\violin
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.
Potassium Dichromate, Oxalic Acid, and Carnauba Wax by Jeff Elliott
BRB p.36
\finish\other \tools\power
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.
Honest Ron’s Lacquer Finishing Technique by Ron Lira
BRB1 p.37
\finish\lacquer \finish\shellac
How to deal with lacquer in less than one page. Heavy on Sherwin-Williams products and short on details, it is nevertheless interesting for his use of heated lacquer.
Spray Finishing Setup by Rolfe Gerhardt
BRB1 p.41
\finish\lacquer \finish\spraying \health
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 water-base products.
The Business of Lutherie by Richard Brune, George Gruhn, Steve Klein, Max Krimmel, and Robert Lundberg
BRB1 p.48
\business\ethics \business\other
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.
Basic Sitar Repair by Thom Lipiczky
BRB1 p.94
\repair\other \instruments\other
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.
Hide Glue Techniques by Donald Warnock
BRB1 p.112
\humidity \gluing
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?
Seedlac by Nicholas Von Robison
BRB1 p.121
\finish\shellac
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.
Health Hazards: Solvents, Glues, and Shell by Ervin Somogyi
BRB1 p.122
\finish\lacquer \gluing \health \inlay
Somogyi wrote this scary little article in 1983, but if you think that the chemicals luthiers encounter have gotten friendlier you better think again. The compounds that have been making people sick for decades are still out there, and regulation doesn’t seem to have made much of an impact. You’ll have to be your own safety cop, and this article is a good place to begin.
White, Yellow, and Hide Glues by Lawrence D. Brown
BRB1 p.162
\gluing
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.
Sponge Soundhole Plug by Glen Markel
BRB1 p.166
\finish\spraying
Markel offers a simple trick for sealing off instrument ports before finishing.
Rosin Varnishes by Louis De Grazia
BRB1 p.167
\violin \finish\varnish
Rosin varnishes preceded the varnishes developed by the Cremonese violin masters. Though they are often scorned by experienced luthiers, De Grazia maintains that the ease with which they can be mixed and applied makes them a good starting point for the budding violin builder.
Several Glue Tricks by Tim Earls
BRB1 p.171
\gluing
Handy tips for spreading and cleaning up Titebond and epoxy.
Finishing With Lacquer by Glen Markel
BRB1 p.178
\finish\lacquer \finish\spraying
These are finishing tips picked up while Markel worked at Guild. The best of them involve heating the lacquer and building a stationary buffing wheel.
Twenty Ancient Dyestuffs and Eleven Mordants by Nicholas Von Robison
BRB1 p.210
\finish\lacquer \finish\other
The dyestuffs are from bugs, flowers, and tree parts. Mordants are chemicals that set the colors and may shift the hue. Dyers’ hip talk is a lot of fun, and the bits of dye history Robison includes add sparkle to a colorful article. Working with these materials could add mountains of snob appeal to a guitar. Rather than describe a three-color ‘burst as yellow/red/brown it might be described as fustic/madder/walnut hull. Be the first on your block to give it a go.
Soundhole Plug for Spraying by Pete Estes
BRB1 p.213
\finish\spraying
Don’t get finish inside your flattop when you spray, use this handy, easy-to-make gizmo. With diagram.
Kasha Guitar Soundboard by Gila Eban
BRB1 p.214
\bracing\classical \guitar\classical \plans \physics\guitar
Eban offers an eloquent argument for trying the Kasha system in your own shop, as well as many details of her own guitars. A page-sized blueprint is included. She maintains that there is a philosophy and an aesthetic behind the Kasha design that is self-revealing and pleasing to work with, and that the design will always be under-realized until a larger number of builders have come to understand and absorb it.
Bass Crate by Frederick C. Lyman, Jr.
BRB1 p.254
\bass\viol
Lyman created a shipping crate for the bass viol that will take abuse without damaging the bass, which is suspended in the crate without touching any of the walls. With 5 good drawings of crate details. It’s not lutherie, but it might save your instrument.
Violin Varnish and Sealers by Graham Caldersmith
BRB1 p.262
\violin \finish\other \finish\varnish
The Sacconi technique of sealing fiddles with silicates has not been widely accepted. Nevertheless, the author explains how he has successfully used silicates to seal and harden violin wood before varnishing, as well as the use of vernice bianca (basically whipped egg whites) to act as an interface between the silicate and the varnish.
Sealing With Shellac and Varnishing Rosewood by Neil Hebert
BRB1 p.264
\finish\varnish \finish\shellac
This guitarmaker has adopted finishing techniques that are often reserved for violins, and claims that in eye and tactile appeal it is superior to lacquer. Particularly important is how he deals with rosewood’s tendency to bleed color, a problem that fiddle finishers don’t have to face.
Finishing Lute Soundboards by Lawrence Brown
BRB1 p.265
\lute \finish\lacquer
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.
Oil Varnish Techniques by David Rolfe
BRB1 p.284
\finish\varnish
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.
Tuning the Guitar by Ian Noyce
BRB1 p.288
\tuning\temperament \bridge\other \fretboard \guitar\classical \guitar\flattop
‘Bet you thought you knew how to tune a guitar. Some are fussier than others, right? Noyce explains that fussiness, and by examining the fussiness it can in part be designed out of the guitar. On the other hand, part of the problem is psycho-fussiness, meaning that you have to tune to suit the peculiarities of human hearing. They say that horses have perfect pitch, so tuning up must be much less of a chore for them.
Controlling Strings, Wood, and Air by Carleen Hutchins
BRB1 p.300
\physics\guitar \physics\violin
Hutchins is an acoustician who knows how to talk to a crowd of rookies. This 1980 lecture is loaded with cool anecdotes, impressive facts, and news of the newly developed (though long thought about) violin octet. Whoever would have thought that the physics of sound could be fun?
Dissolving the Mysteries by Graham Caldersmith
BRB1p.346
\physics\guitar \guitar\classical \guitar\flattop
Caldersmith loves the scientific aspects of instrument design, and offers this primer to help explain what's going on in an excited classical or steel string guitar without going off the scientific deep end. The most interesting part is that in his update (17 years later) he has reversed is position on how to use this information. Information doesn’t change as much as how we use it, and we can’t use it if we don’t understand it. That, in a nutshell, is the acoustician’s tenant. Includes a photo, a drawing, and 3 frequency response graphs.
Lemon Oil and Carnauba Wax by Jimmie Van
BRB1p.352
\wood\hard \finish\lacquer \finish\other
Discusses the advantages of cleaning instruments with lemon oil and resealing the finish with carnauba wax.
Epoxy by Paul Jacobson
BRB1p.353
\gluing
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 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.
The Case for Using Natural Dyes by Nicholas Von Robison
BRB1p.372
\finish\lacquer \finish\other \wood\hard
Robison offers a convincing, multi-pronged philosophical stance for using natural dyestuffs that should lodge firmly among the luthiers that build ancient instruments or see them on their repair bench. Or anyone else who admires subtlety more than bright pizzazz.
Spraying Lacquer With Nitrogen by Harry Coleman
BRB1p.373
\finish\spraying \finish\lacquer
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.
The Truth About Temperaments by Edward Kottick
BRB1p.386
\tuning\temperament
Nearly every person alive in the western world has grown up with music that sounds the same in every key, but there was once a time when music had no keys, and later a time when each key had its own particular sound. We are perfectly comfortable with how our music sounds, but are we richer for it? More importantly, people once had different concepts of music, and perhaps different expectations. They thought differently. And if they thought differently about music perhaps they thought differently about everything. How can we understand their times if we can’t understand the way they thought? Kottick doesn’t delve into this, but you might be tempted to after reading this article.
Hangers for Spraying and Storage by Bill Colgan
BRB1p.458
\finish\spraying
A case is made for suspending instruments to be finished by hooks attached nylon cord, both during spraying and while drying.
Big Red Book Two
(Pre-American Lutherie Material)
Charlie Christian Pickup by Doc Kauffman
BRB2 p.19
\electronics
One of the pioneers of the solidbody guitar gives a brief description of one of the first successful pickups, complete with 3 full-scale drawings of the pickup and a sketch of its flux pattern compared to a more contemporary pickup.
Epitaph for a Luthier: Miguel Company by H. E. Huttig
BRB2 p.23
\people
A number of builders impacted the lutherie scene simply by keeping the craft alive during the dark days of the ‘50s and early ‘60s, even though they are all but forgotten today. Company fled Castro’s Cuba to Florida, where he made all manner of guitars and Latin instruments.
Flamenco Capo by D. Alfieri
BRB2 p.25
\accessories
Flamenco guitars are very light in weight, and a conventional capo could unbalance them and even change their sustain. This all-wood capo should correct the problem.
Diagnosing with an Ohmmeter by Bob Petrulis
BRB2 p.31
\electronics \repair\other
The author discusses ways to diagnose various electric guitar repairs before the instrument is even disassembled.
Museum Services for Luthiers by Laurence Libin
BRB2 p.48
\organizations \business\other
Luthiers who deal in restoration and re-creation of old instruments may find that museums may harbor help that is otherwise unavailable, and you may not have to visit the museum to avail yourself of its services. Libin discusses what museums are usually prepared to do to help researchers, and how to deal with museums when you need their help.
Design Factors in the String Bass by Frederick C. Lyman, Jr.
BRB2 p.52
\bass\viol
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.
Meet the Maker: Manuel Davila by H. E. Huttig
BRB2 p.61
\people
Davila made flamboyantly decorated instruments in Guatemala with little regard to contemporary customs. He also built with home-made toad glue. Too bad we don’t know more about him. With 1 photo of Davila and a guitar.
An Overview of Pickup Design by Tim Shaw
BRB2 p.62
\electronics \guitar\electric
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.
Lute Making by Lawrence D. Brown
BRB2 p.68
\lute
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.
Meet the Maker: Robert Lundberg by Kent and Aggie Rayman
BRB2 p.78
\people \lute
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.
Acoustic Variables in Fretted Dulcimer Construction by Bonnie Carol
BRB2 p.96
\dulcimer\fretted
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.
Resonance by Roger Siminoff
BRB2 p.99
\bracing\flattop \physics\guitar
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.
Remembering Hermann Hauser II by H. E. Huttig
BRB2 p.154
\people \guitar\classical
The author visited Hauser in Germany in 1966. This short biography and remembrance adds a bit of humanity to a man who is usually only thought of in terms of the guitars he left behind when he died. With 2 photos.
Meet the Maker: Victor Gardener by Frederick C. Lyman, Jr.
BRB2 p.158
\people \violin
Gardener was an independent sort from Oregon who built closely in the style of the violins of the classic period in Italy. Mentions Hans Weishaar. With 2 photos.
Aesthetics of Restoration by D. Alfieri
BRB2 p.176
\restoration
The goal and duties of the instrument restorationist are not always clear cut since the philosophy of restoration is not universally agreed upon. The author makes a good case for a conservative approach to the subject and the work.
Guitar Sound Criteria by Thomas Knatt
BRB2 p.200
\guitar\classical
Knatt discusses the elements of classical guitar construction that help create the sound he is after, such as thinning the top, the characteristics of the action and saddle, accuracy of fret placement, and the effects of brace shaving. Mentions Carleen Hutchins.
Soundboard Bracing Considerations by Paul Wyszkowski
BRB2 p.201
\guitar\classical \bracing\classical \physics\guitar
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.
Sound Generator for Experimentation by Matt Fichtenbaum
BRB2 p.203
\physics\guitar \physics\violin \electronics
The author supplies schematics for anyone wishing to build their own tone generator.
Dulcimer String Pins by Bud Ingraham
BRB2 p.209
\dulcimer\fretted \accessories \strings\other
Ingraham uses guitar bridge pins to fasten the ends of his dulcimer strings. With a pair of drawings.
Hammer Dulcimer String Pins and Loops by Ed Damm
BRB2 p.236
\dulcimer\hammered \strings\other
By using a collection of drawings the author demonstrates many ways to string the hammered dulcimer.
Hammer Dulcimer by Al Carruth
BRB2 p.242
\plans \dulcimer\hammered
A drawing, a photo, and a one-page blueprint help explain the unique way Carruth constructs his hammered dulcimers.
Calfskin Banjo Head by Kirk Hogan
BRB2 p.244
\banjo \skin
Mounting a skin head on a banjo has become a lost art. Here’s how to do it. Includes 4 drawings.
Constructing a Medieval Lyre by John Taye
BRB2 p.258
\instruments\other
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.
Fitting Lute Pegs by Lawrence D. Brown
BRB2 p.260
\lute \pegs
Lute pegs are different than violin pegs and have their own requirements if they are to function properly. Brown gives a thorough explanation.
Head V-Joint by Duane Waterman
BRB2 p.282
\neck \guitar\classical
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.
Folk Harp Design by R. L. Robinson
BRB2 p.284
\instruments\other
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.
Making Bridges Using Power Tools by Kent Rayman
BRB2 p.289
\bridge\guitar \guita
