American Lutherie #116 cover shows Trevor Healy preparing a mahogany neck blank to receive an eony backstrap.

American Lutherie #116
Winter Issue 2013
Web Extras

Page 6 - Beyond the Rule of 18: Intonation for the 21st Century from their 2011 GAL Convention lecture by Gary Magliari and Don MacRostie

During the course of his investigation, Gary Magliari has run across some useful tips that he has graciously asked us to share with anyone that wants to try his method out.

1) Hollowbody instruments with a fixed, glued-on bridge often bend a little when the strings are brought up to full tension. The distance between the nut and saddle can shorten about .020". The pre-tension and post-tension distances should be checked and appropriate adjustments made to the saddle slot position. It appears that this distance reduction occurs mostly in the body.

2) If it becomes necessary to adjust intonation after completion, small adjustments can be performed entirely with saddle offsets. However, it would be better to split the required distance equally between the nut and saddle. For example, assume that the saddle needs to be reajusted .030" toward the tail of the guitar. It would be better to shift both the nut and saddle .015" towards the tail.

3) Anyone that has attempted to take readings from fretted strings using an electronic or software-based tuner has undoubtedly had problems getting stable readings. Often these problems are worse at particular frequencies or neck positions. This is due to sympathetic resonances, standing waves, and other frequency-induced anomolies. Targeting a harmonic instead of the fundamental will often alleviate these issues.
Targeting the first overtone (2nd partial) has produced more accurate readings. As an example, suppose a reading of the A string (110 Hz) is desired. Set the tuner at A3 (220 Hz) even though the open A string will be plucked. The tuner will report a reading of the 220 Hz first overtone with much cleaner results. The inharmonicities are too small to be of concern.

Don MacRostie: Tension-Compensated Fret Intervals (pdf)

Gary Magliari: Positioning Musical Instrument Frets That Compensate for Fretting-Induced String Tension (pdf)

Page 16 - Meet the Maker: William Eaton by Tom Harper
Old photo of John Roberts Old photo of John Roberts      
John Roberts back in the day.

Photo of The Roberto-Venn school i n the early 1970s Photo of The Roberto-Venn school i n the early 1970s Photo of The Roberto-Venn school i n the early 1970s Photo of The Roberto-Venn school i n the early 1970s  
The Roberto-Venn school in the early 1970s.

Front of The Roberto-Venn School Some students take a break at The Roberto-Venn School of Lutherie Another view at the Roberto-Venn School A view outside the Roberto Venn school View of the shop at the Roberto-Venn School
Roberto-Venn School of Lutherie's cat View of the shop area at the Roberto-Venn School Some students ready to bend some sides Seasoned lumber Students working on their instruments in the shop at the Roberto-Venn School
Students are being shown how the sides are set in place The sides are placed in a mold Look at all those students
The Roberto-Venn school in 2002. Photos by Hap Newsom.

Some Roberto-Venn students making a William Eaton designed electric harp guitar William Eaton surpervising some students at The Roberto-Venn School William Eaton supervises Roberto-Venn students making an electric harp guitar of his design    

William Eaton supervises Roberto-Venn students making an electric harp guitar of his design, 2002.

 

   
Detail of Spiral Clef Tree harp John Doan and William Eaton with their harp guitars William Eaton with a early harp guitar  
Detail of Spiral Clef. The Tree Harp. Harp guitars at the 1998 GAL Convention. Left: John Doan with Sullivan-Elliott instrument. Right: William Eaton with a harp guitar that he designed and built. Eaton with another early harp guitar.  
William Eaton holding a recent double neck harp guitar with Transperformance tuning system Front view of a William Eaton double neck harp guitar w ith Transperformance tuning system Back view of a William Eaton double neck harp guitar w ith Transperformance tuning system    
Three views of a recent Eaton double neck harp guitar with Transperformance tuning system.    
Page 34 - The New England Luthiers’ OM Collaborative Build by Don Boivin
End view of a guitar by Mike McCarten Guitar by Mike McCarten ready for the neck and bridge The peghead of Mike McCarten's guitar Rosette by Mike McCarten  
Mike McCarten.

Don Boivin mearuring for some braces        
Don Boivin.

Marking the placement of the bridge
Gluing the bridge in place The finished bridge  
Trevor Healy makes a bridge.

 
Craig Sullivan.

   
Fran LaMalva.

Paul Buck plays a guitar by Mike Mahar. Jim Kelly plays a guitar by Tom Knatt. Adam Bahrami (left) with LaMalva OM, and Fran LaMalva with RM Motolla classical. NEL meeting. Sam Moss (right) is the player. Raymond Gonzalez.
Paul Buck plays a guitar by Mike Mahar. Jim Kelly plays a guitar by Tom Knatt. Adam Bahrami (left) with LaMalva OM, and Fran LaMalva with RM Motolla classical. NEL meeting. Sam Moss (right) is the player. Raymond Gonzalez.
  Shop talk.      
Page 42 - Meet the Maker: Tom Cussen by Rick Rubin
   
Tom Cussen (left) with author rick Rubin. Sean prepares to bind resonators. Tom tests a neck with the moisture meter.    
The drum sander fits necks to the curve of the rim. Machines in the Tom Cussen shop. Machines in the Tom Cussen shop.    
Machines in the Cussen shop. The drum sander fits necks to the curve of the rim.    

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