American Lutherie #89 cover shows  Harry Fleishman's bending concepts

American Lutherie #89
Spring Issue 2007
Web Extras

American Lutherie #89 is available as a back issue, click here.

Page 6 — Low-Tech Prototyping Jigs and Methods by Tim Shaw
End view of Tim Shaw's machine room View of the main pin router Another view of the room showing the eight inch jointer Fret slotting setup using a radial arm saw Shows a couple styles of rough bridges and a masonite template for another
This jig allow you to radius the back and top braces View of the bridge plate tool Another view of the bridge plate tool The bottom of the jig for shaping the bridge A jig used to shape the heel of the guitar
The fretboard gets pinned to the neck Tim Shaw discusses his techniques Another view of Tim Shaw talking with GAL convention goers    
Page 18 — Meet Chris Jenkins by Steve Kinnaird
Group photo from the National Cowboy Petry Festival The group photo from the National Cowboy Poetry Festival shows all of the players at the festival that year who were performing with Jenkins instruments. In the photo from left to right they are, Baxter Black, Ross Burson, Dale Burson, Denise Withnell, and Chuck Milner.
Rim of a guitar-banjo hybrid Chris Jenkin' neck adjustment system on a guitar built by his son Jeremy End view of a guitar donated to the auction at the 2006 National Cowboy Poetry Gathering built by Chris and Jeremy Jenkins Front view of a guitar donated to the auction at the 2006 National Cowboy Poetry Gathering built by Chris and Jeremy Jenkins Back view of a guitar donated to the auction at the 2006 National Cowboy Poetry Gathering built by Chris and Jeremy Jenkins
Chris Jenkins (far right with stratocaster) 1966 Chris Jenkins often provides extra graphic decoration on the inside surface of the soundboard Chris Jenkin's guitar with three elliptical soundholes at the 2005 Healdsburg Guitar Festival Chris Jenkins and his son Jeremy at the 2006 GAL Convention
Chris Jenkins with some guitar-banjo hybrid rims Chris Jenkins' shop is a converted attic space      

This link takes you to a photo of Chris Jenkins' hand after he cut it on a table saw. It's a graphic photo that you might not want to look at. Speaking of tables saws, follow this link and scroll all the way down. Sawstop would have saved him. We remind everyone to use extreme caution when operating powered tools or machinery.

visit the website of the author Chris Jenkins

Page 22 — Making a Brass Plane by Ken Altman
Ken Altman's workshop at the 2004 GAL Convention Ken Altman shows how to make a brass plane at the 2004 GAL Convention Convention attendees at Ken Altman's workshop Cutting some pieces to length Small pieces of solderare laid on the seams and heat is applied from below
A completed brass plane        
Page 30 — Mending a Bomber by John Calkin
Damaged top of a GIbson B-25 Rachet and socket sets are tools seldom required in the guitar repairman's trade Removing the bridge plate freed two large chips of spruce leaving a gaping hole in the guitar top No attempt was made to hide the repaired top damage The Gibson B-25 shows as scars with modest satisfaction
Page 34 — The Trio Romantico and the Requinto by Fred Casey
The peghead is decorated with a mosaic strip Side view of the requinto View of the back of the requinto The cutaway is unusual and fairly crude Close up view of the heel
The requinto bridge Front view of requinto The requinto rosette is a mix of rings, mosaic, and marquetry Fred Casey plays the anonymous Mexican requinto  
Page 38 — Meet Dmitry Zhevlakov by Federico Sheppard
Dmitry Zhevlakov's workshop is located in his mother's apartment Dmitry Zhevlakov and his grandfather Vasilij inspect rosettes Dmitry, his wife Natalya, and daughter Lisa Dmitry and his wife Natalya Dmitry shows the front of a 7-string guitar
Dmitry shows the back of a 7-string guitar Dmitry proudly displays his GAL certificates of membership      
Federico Sheppard (left) and Dmitry Zhevlakov The author, Federico Sheppard is on the left.  
Page 42 — Jim Norris' Lattice Bracing by Brent Benfield
Jim Norris is gluing his balsa lattice on top of a crisscross layer of carbon fiber and epoxy another view of the balsa lattice gluid in place The lattice is carved and block sanded to an airfoil shape
Stiffer bars are attached to the end block Interior view during tuning process The shape of the heel is Some L-shaped brackets Jim Norris during the construction process
Jim Norris mounts a top/rim/sides assembly in the fixture        
Page 48 — Aluminum Sonatas: A Brief History of Aluminum String Instruments
by James Condino

Back view of aluminum bass by G.A. Pfretzschner
Aluminum bass corner Side view of aluminum bass by G.A. Pfretzchner Front view of aluminum bass by G.A. Pfretzchner Aluminum violin and hybrid mandolin
Aluminum violin and side view of hybrid mandolin End view of the hybrid mandolin back Aluminum violin body    
Page 56 — Optimizing Playing Surface Geometry by R.M. Mottola
Small weight was placed at the 10th fret adn the deflection was read on the dial gauge Progress is checked with a straightedge Truncated cone Any other intersection results in the edges forming a parabola Shows the relationship between these two cones
Shows a model of the string surface of the double bass , looking from the nut end Shows how the fret tops look after approximate conical leveling      
Page 62 — The Chanlynn Deflection Machine by John Calkin
Mark Chanlynn (right) and his son Matt in the center. That's Mark Chanlynn on the right. In the center is Mark's son Matt. Looks like they caught some fish.
Page 64 — Product Reviews: Klumper Binding Cutter by Alan Portman and John Mello
Page 66 — Questions edited by R.M. Mottola
Makoto Tsuruta, a source of bar fret stock.
Page 68 — It Worked for Me by Harry Fleishman, Peter True, Harry Tomita, and
Glenn Uhler

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