American Lutherie #86 cover shows an ingenious adjustable and removable neck joint by lutherie innovator Mike Doolin

American Lutherie #86
Summer Issue 2006
Web Extras

American Lutherie #86 is available as a back issue, click here.

Page 6 — Arched Plate Carving, Part Three by Chris Burt
Here are color versions of several of the photos:

Splitting brace wood with the grain Planing the bar flat Trimming the bar end Drawing bridge position Marking the bar location
Splitting brace wood with the grain. Planing the bar flat. Trimming the bar end. Drawing bridge position. Marking the bar location.
Tracing the arching onto the bar Refining the fit of the bar Cleats stabilize the bar Chris Burt examining the joint Clamping the bar
Tracing the arching onto the bar. Refining the fit of the bar. Cleats stabilize the bar. Examine the joint. Clamping the bar.
Mark bar heights Taper the bar sides      
Mark bar heights. Taper the bar sides.      
Page 18 Meet the Maker: Bernard Millant by Jonathon Peterson
Amedee Dieudonne's workshop in Mirecourt in May of 1946 Amédée Dieudonné's workshop in Mirecourt in May of 1946. From Left to right: Amédée, Eugene Guinot, Jean Eulry, Marcel Thomassiu (foreground), and Michel Lotte, son of bow maker François Lotte. Bernard Millant spent two and a half years studying violin making in the Dieudonné shop.
The Monzot brothers' workshop in Mirecourt in May of 1948 The Morizot brothers' workshop in Mirecourt in May of 1948. Back row, from the left: Brothers Marcel, Louis, Paul, André, and George Morizot. Front row, left, is a young Bernard Millant. The other young man is Louis Morizot's son.
Jacques Francais is behind the wheel. Accompanying Jacques are his daughter, and Bernard Millant A Sunday in New York, March 1949. Jacques Français, who was to become a world renown violin expert, is behind the wheel of this sharp 1941 Buick convertible. Accompanying Jacques are his daughter, and Bernard Millant.
Bernard Millant making a violin at the Moscow USSR National Exhibition Bernard making a violin at the Moscow USSR National Exhibition. This photo did not appear in the magazine.
Bernard Millant examining a violin in natural light outside of his Paris shop in 1989 Bernard steps out of his Paris shop in 1989 to get some natural light.
Bernard Millant in the back room, 1995 “In the back room with my desk, 1995.” This photo did not appear in the magazine.
Bernard Millant the the 2004 Violin Society of America meeting in Portland, Oregon Bernard Millant at the 2004 Violin Society of America meeting in Portland Oregon.

 

Page 24 Modern Approaches to Adjustable Neck Joints
by Harry Fleishman and Mike Doolin
Hardware parts used in Mike Doolin's adjustable neck joint The hardware parts used in Mike Doolin's adjustable neck joint.
Surface of the neck block that will be visible from the inside of the guitar box Here's the surface of the neck block that will be visible from the inside of the guitar box.
Neck side surface of the block And this is the neck-side surface.
Shows how the block fits into the sides and the side braces This photo shows how the block fits into the sides and the side braces.
Neck tenon Here is the neck tenon.
Rough neck and block assembled, top view The rough neck and block assembled. Top view.
Rough neck and block assembled, side view The rough neck and block assembled. Side view.
Mike Doolin has moved the adjustment screw from the interior of the guitar to the back of the heel Since the article was published, Mike Doolin has moved the adjustment screw from the interior of the guitar to the back of the heel for easier access. Here's the new look.


See Mike Doolin's web site.

Here some shots of Harry Fleishman's version of the adjustable neck. None of these appeared in the magazine.

Harry Fleishman version of the adjustable neck Closeup photo of the heel end of the neck Another view of the heel end of the neck The heel end of the neck.
The neck end of the body The neck end of the body.
Interior of the body, showing the bolts in the heel block Interior of the body, showing the bolts in the heel block.

See Harry Fleishman's web site.
Page 32 Meet the Maker: Carleen Hutchins by Alan Carruth
Carleen Hutchins poses with a bass mold Carleen poses with a bass mold.
Chien Tan compares a treble violin (right) with a standard violin Violinist Chien Tan compares a treble violin (right) with a standard violin. See her web page at www.trebleviolin.com/


See the web site of the New Violin Family Association.

Author Al Carruth's web site.

Page 42 Alternative Headstock Decoration and Truss Rod Adjustment Access
by R.M. Mottola
The laser print is heated to effect the transfer of toner from the paper to the underlying wood The paper is peeled back to reveal the transfer    
Transfering a laser printed image directly to the wood of the back.    
Some wild marquetry design by Thomas Coughlin. Back view of some marquetry design by Thomas Coughlin Another back view of marquetry design by Thomas Coughlin Back view of marquetry design by Thomas Coughlin
Thomas Coughlin's wild marquetry designs.
Close up of the flush mounted truss rod cover by R.M. Mottola The flush mounted cover is attached via a single screw from the rear of the headstock Construction of the flush mounted cover is apparent when it is removed and turned over  
Mottola headstock engraved by desktop CNC.  
Peghead by Adrian Lucas Close up view of the truss rod access hole Rosette by Adrian Lucas  
Peghead and rosette by Adrian Lucas.  

Author R.M. Mottola's informative web site.
 
Page 48 Seeking the Top by Michael Sanden
A log is brought out to the yard where it will be cut The log is first cut into 2 foot sections The boards go through a saw with two blades that cuts the width of each board to about ten inches The top sets are graded and sorted into stacks Here are four shots that appeared in the magazine. But they are so much better in color.
Michael Sanden stands next to a log house made from a single lollow log Here's one that did not appear in the magazine. Michael visits a real "log house," that is, a house made of a single hollow log.
Page 50 A Flattop Mandolin Resurrection by John Calkin
The back is removed from the flattop mandolin Both mandolin tone bars have been removed and the top cleaned New braces are added The label was the only thing holding this brace in place Two old braces are glued back in place plus a new beefier brace
Before. Braces removed. New braces. The back.
The mandolin is finished        
All better.        
Page 54 Puerto Rican Tiple Conference by Fred Casey
Paulo De Souza and Richard Roberge playing Brazilian Cavaquinhos Here's Paulo De Souza and Richard Roberge playing Brazilian Cavaquinhos.
Young pros jamming Some young pros jamming at the tiple conference.
Fred Casey (right) and Edwin Colon Zayas Author Fred Casey (right) plays the travel guitar he built for the conference while Edwin Colon Zayas plays a tiple.
A tiple doliente with two tiples requinto A tiple doliente with two tiples requinto
Fred Casey and his wife Kate pose with a spactacular tiple float Fred and his wife Kate Ferris pose with a spectacular tiple float.
Page 62 Product Reviews by James Condino
Old photo of one handed players playing a harp guitar A one handed mandolin player One handed players playing string instruments Three photos of one-handed players of string instruments. They didn't have SawStop.
SawStop Another view of SawStop Two views of an aluminum pawl after it has been fired to stop the blade.

See the Sawstop web page.

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