CHITARRA LAMPO

GUITAR MAKING

1 - 2 - 3 - 4

6355 THE ART OF TAP TUNING How to Build Great Sound into Instruments. Roger H. Siminoff. DVD e libro

Euro 32,00

Quantity

THE ART OF TAP TUNING How to Build Great Sound into Instruments. Roger H. Siminoff. DVD e libro

Series: Book
Medium: Softcover with DVD
Author: Roger H. Siminoff

This book explains the secret ingredients needed to obtain the very best tonal qualities when building acoustic string instruments. It includes an exploration of the tools and equipment needed, the methods to excite tones in the instrument, how to make the necessary changes, and how to achieve consistency and repeatability. The text focuses on tap tuning as it relates to mandolins, guitars, banjos, violins, ukuleles, dulcimers, pianos, and more. The DVD includes demonstrations of the acoustic phenomena described in the text. 48 pages.

Availability:

4718 THE LUTHIER'S HANDBOOK, A Guide to Building Great Tone in Acoustic Stringed Instruments. Siminoff.

Euro 25,99

Quantity

THE LUTHIER'S HANDBOOK, A Guide to Building Great Tone in Acoustic Stringed Instruments. Siminoff.

Series: Book
Publisher: Hal Leonard
Medium: Softcover
Author: Roger H. Siminoff

An essential item for the instrument builder, The Luthier's Handbook explores the secrets and science behind making good-sounding acoustic stringed instruments. Renowned author Roger H. Siminoff brings to the table more than four decades of luthiery experience and shares the time-tested philosophies, tips and technology of the craft. As the ideal complement to other books on building instruments, this text describes the structural and acoustical attributes of air chambers; what to listen for when tap-tuning; selecting a good piece of wood; placement of the braces and tone bars and how to tune them; how to select the right strings; what to consider in bridge design concepts; and much more. Includes a free String Gauge Calculator for determining the right set of strings. 96 pages.

THE MYSTIQUE:
I am a hardcore sailor. And while I sail a fairly modern
sailboat with the latest electronic gear, I have dreamt of the
great crossings of Columbus, Balboa, Erikson, and the rest.
I ponder their bravety, their fortitude, and that certain charm
and splendor that accompanies such heroic and fearless
acts of long ago. And, I wonder how they connected with
their vessels and understood their whereabouts in the
absence of today's modern technologies.
The craft of lutherie boasts such connection. It calls upon
the introduction of modern tools while carrying the
mystique of leather aprons, handmade chisels, smelly
hide glue, and the hands of artisans like Stradivarius,
Guanari, as well as the more contemporary work of
Gibson, Martin, and others.
As sailors learned from the rutters (diaries) of sailors
before them, we have learned from the rutters
(instruments) of these great craftsmen. We evaluate their
measurements, count their grain lines, test their finishes,
and listen to the musical wonderment of instruments
hundreds of years old. Not only do we love how old
instruments sound, we love how old they smell.
It is often suggested that technicians of yesteryear
seemed to do a better job than we can today ... that they
had some secret sauce that made their instruments
sound sweeter. What did they know that we don't? How
did they learn to do that? Who did they learn it from?
And, the most commonly asked question; why does that
"pre-war" instrument sound better than any of those
made today?

THE REALITY:
Maybe one should ask, "what did it sound like then?" As
my friend Mike Longworth of C.F.Martin used to recount,
"we have never learned to make a new instrument that is
100 years old!" Age, and the contribution that time and
years of playing make to an instrument is one of the major
dividing lines between today's lutherie and yesterday's.
The truth is, we have more knowledge about wood and
finishes today than craftspeople did 100 or more years
ago. Our tools are better as are our measuring devices.
Our adhesives are better and our finishes are better and
more durable. The ability to season wood correctly greatly
exceeds what was done in the past by stacking, stickering,
sealing, air drying, and keeping fingers crossed. And, with
today's modern machining and CAD/CAM devices, we can
hob out a neck or body, gang-saw perfectly aligned fret
slots, and build production instruments almost faster than
the wink of an eye.

THE VISION:
There are a lot of wonderful books on instrument
construction and maintenance authored by some of the
best luthiers (and good friends) in the business. I'm guilty
of authoring four. The Luthier's Handbook is not about
making good instruments, but about understanding the
science behind making instruments that sound good. My
goal here is to go behind the scenes and talk about the
philosophy and technology involved in this craft including:
why we choose certain woods, howto select a good piece
of wood, where to put the braces and tone bars, how to
select the right string gauges, whatto listen for when taptuning,
howto tune the components, and more.
My primary focus in this text is on issues which are
acoustical or structural in nature - I'll leave the
cosmetics and instrument design up to you. For example,
I am concerned about the height and weight of the bridge
as it relates to transferring and driving the strings' energy
to the soundboard. While the design is certainly tied to the
bridge's functionality, in this book, I am only concerned
about selection of wood and shape as it relates to
acoustical properties and providing the right leverage or
torque. I talk about finishes from a strictly acoustical
standpoint - whether you choose dull or matte, sunburst
or plain, tinted or clear, is up to you. If your instrument
has a tailpiece, I speak about how it works and not how it
is engraved or plated.
You can build the instrument, I want to help you think
about it. I want to share my experiences of more than 40
years with you. All you have to do is read, think, and, I
hope, build better instruments.

CHAPTER 1

ZEN AND THE ART OF BUILDING ACOUSTIC STRINGED MUSICAL INSTRUMENTS
There are many steps to building instruments and a life
full of opportunities to learn to use them. Practice and
devotion to the craft will help you achieve the knowledge
expected of a luthier.
The great philosopher John Locke, said that "knowledge
was the agreement or disagreement of two or more
ideas." The length of time you spend practicing and
focusing on your craft will develop wisdom (knowledge
plus experience). And, if you have the gift of creativity
and the art of sensitivity, you are clearly on your way to
plateaus of satisfaction and achievement beyond your
wildest dreams.
Whether you build only one or many instruments, you
will learn processes that take you from A to Z. You will
learn to select the right materials. You will learn
techniques and tricks. And, you will learn - from trial
and error - how to work each step through until you
arrive at the desired destination. You will, I hope, learn
from your mistakes and failures. These become the real
tools and secrets of your trade.
But it is not the knowledge and wisdom that will make
you a great luthier. Rather it is the application of this
knowledge and wisdom that become your fingerprint,
your signature. In the final analysis, it is how you apply
the combination of your skills that will herald what people
will see in you through the instruments you build.
Beyond these traits, there is another piece that others will
not see. There is a component of the real you, should you
choose to accept the challenge, that speaks to how you
wear the inner garb of luthier, and how you personally
accept the challenge of devoting your life to being a true
instrument maker.
I know of some luthiers who approach their craft almost
spiritually. They attempt to maintain the greatest presence
of mind and rationality when they are building an
instrument. Their approach to instrument construction is
not just mechanical, but sensual as well- with all of their
senses invited to take part in the process. Their beliefs on
how parts work, and how parts fit, and their reverence for
wood is, to say the least enlightening. To them, the
instrument is not just a bunch of pieces glued together,
but instead an imaginary entity being contained by sides,
top, and back - each of which plays an important role in
unifying the whole. Each corner is not a joint, but the
union of two planes. Each line has a purpose. Each curve
has a thought. Everything has a wholeness, beginning
from the builder's complete vision, continuing through a
finished instrument, and ending with a glorious tone.
I think there is much to be said for having a feeling - a
sense - of what do and how to do it, in addition to the
mechanical knowledge of the craft itself.
While an industrial design student at Parsons School of
Design, I remember being exposed to the idea of feeling
art from the inside of the piece as well as from the
outside. A chair, for example, wasn't just a nice form to
look at; it has an internal meaning and shape, too. You
may have seen sculptors who worked as hard on the
inside of the piece as they did on the outside. Their art
has no boundaries; it is not just outer shapes, but an
entire multi-dimensional piece of sculpture.
When I was living in New Jersey, I had the pleasure of
knowing Keith Ferris, a highly respected artist who
specialized in renderings of Air Force and Navy aircraft.
His work is superb. I remember watching him begin a
wall-size piece of art of several aircraft. His first lines
were those of the superstructure and struts. Then he
penciled in the fuel tanks and innermost components of
the plane. Finally, he covered all of that line work, hiding
it forever under his paint as he completed the picture of
the planes' exteriors. He knew his aircraft were right -
because everything inside them was in place.
To those luthiers I mentioned previously, creating the truss
rod pocket, slot, and filler strip, and gluing in the truss rod,
is as important a procedure as polishing the sound board's
face, even though the rod will not be seen once the
instrument is completed.
The creative process has no boundaries. There are no
rules, there are no guidelines. Anything goes - at least
in the realm of thought. The truly creative work we see in
luthiery comes from free-thinking craftspeople who have
learned the thrill of allowing their minds to take them
away from their textbooks, workbenches, and tools to a
place where they can think, envision, and dream,
returning only when they are ready to create.
For the creative luthier, the mind takes great risk. Their
work is typically unconventional, untraditional, and
possibly unmarketable. They spend a great deal of time
pursuing the infinite aspects of their instruments so ...

An essential item for the instrument builder, The Luthier's Handbook explores the
secrets and science behind making acoustic stringed instruments. Renowned author
Roger H. Siminoff brings to the table more than four decades of luthiery experience
and shares the time-tested philosophies, tips, and technology of the craft.

The Luthier's Handbook includes expert advice on:
Wood selection
Tap tuning
Bridge designs
Bracing and tone bar configurations
Soundboard design and construction
String selection
Truss rods
Tools and fixtures
Much more ...

"When you're in the music business for any length of time, you have the opportunity
of meeting the 'best of the best' ... people like Roger Siminoff. As a designer,
musician, and luthier always looking to make stringed musical instruments better,
Roger has a rare talent for doing just that. Having worked on many projects with him,
I can't say enough about his thoroughness and intuitive skills. As a writer, he expresses
ideas from his heart but with a complete understanding of the subject matter."
Bruce J. Bolen
V.P. Marketing Development
Fender Musical Instruments

Preface
Chapter 1 - Introduction
Chapter 2 - How It Works
Chapter 3 - Woods
Chapter 4 - Structure
Chapter 5 - Bridges
Chapter 6 - Sound boards
Chapter 7 - Truss Rods
Chapter 8 - Strings
Chapter 9 - Tailpieces
Chapter 10- Finishes
Chapter 11 - Tuning The Assembly
Chapter 12 - Wrap Up
Index
About the Author

Availability:

4348 VINTAGE GUITARS VOL.1

Euro 70,00

Quantity

VINTAGE GUITARS VOL.1

FERNANDES
GRECO
YAMAHA FOLK
and others

145 pages

Availability:

1196 COMPLETE GUITAR REPAIR, KAMIMOTO

Euro 26,00

Quantity

COMPLETE GUITAR REPAIR, KAMIMOTO.

Master craftsman tells you everythung you need to know about the maintenance, restoration and construction of acoustic and electric guitars. all steps cleary explained, from planning stages to final polish. Over 200 diagrams, photographs and tables.

Length: 160 pages
Language: English

Availability:

6170 GUITAR QUESTIONS, The Novice's Guide to Guitar Repairs

Euro 13,00

Quantity

GUITAR QUESTIONS, The Novice's Guide to Guitar Repairs

Series: Guitar One
Publisher: Cherry Lane Music
Medium: Softcover
Composer: Barry Lipman

This book is comprised of reprints of the Guitar Questions columns that ran in Guitar magazine for over a decade. Written by luthier Barry Lipman, it offers clear, precise and simple explanations on how to make minor repairs and adjustments to your instrument. The column was aimed at players who were neither guitar builders nor repairmen. Sample questions addressed include: What are the advantages of big frets? What is the best way to care for the fretboard? What is meant by intonation and what is involved in adjusting it? What does a truss rod do and how does it work? How tight should the bridge pins be on a steel-string acoustic? Find the answers to these and many more relevant inquiries in Guitar Questions. 6? x 9? 144 pages.

Availability:

6169 THE GUITAR PLAYER REPAIR GUIDE, 3RD REVISED EDITION. Dan Erlewine. DVD

Euro 30,99

Quantity

THE GUITAR PLAYER REPAIR GUIDE, 3RD REVISED EDITION. Dan Erlewine. DVD

Moltissimi suggerimenti, consigli, segreti per la regolazione e la cura del vostro strumento, come i famosi tubicini di plastica che Stevie Ray Vaughan usava al ponte per proteggere dalla rottura le corde; tutti i trucchi e le misure della Lucille.

Series: Book
Publisher: Backbeat Books
Medium: Softcover with DVD
Author: Dan Erlewine
This expanded edition for beginners to experts is a step-by-step manual to maintaining and repairing electric and acoustic guitars and basses. Players learn how to set up a guitar and keep it in top form by mastering basic maintenance. Features an essential DVD that makes guitar maintenance easier than ever. New features include set-up specs of leading players; stronger coverage of guitar electronics, including pickups and wiring diagrams; and expanded coverage of acoustics. 322 pages

Book/DVD pack. Newly expanded edition of this indispensable step-by-step manual for maintaining and repairing electric and acoustic guitars and basses. Learn how to adjust your own truss rod, install tuners, close and glue cracks, replace a nut, make finish repairs, wind your own pickups, and much, much more. Content is now highlighted based on skill level: Basic, D.I.Y., and Deep. New features include stronger coverage of guitar electronics, including pickups and wiring diagrams and expanded coverage of acoustics. DVD features segments on: how to evaluate any guitar before buying, how to set your own intonation, how to install strings without damaging your guitar, more.

In my boundless optimism, I expected clues to sonic miracles. I was talking to Bob Ezrin, who produced Alice Cooper, Lou Reed, Pink Floyd, Kiss, Peter Gabriel and many others, and, in the process, conjured some of the hippest guitar sounds ever blasted across the airwaves. Surely, there must have been some voodoo in his microphone selection, his mic placement and his choice and manipulation of preamps, compressors and other arcane signal processors. But Ezrin made it clear that everything started with the guitar itself. "An excellent setup is at the center of every good, complex guitar recording," he said. "The pickups must be in good shape, the electronics must be as clean as possible, and the fretboard must be buzz-free." At a time when the quality of inexpensive, off-the-rack guitars can be downright awesome, we tend to forget how a beautifully set up instrument-more specifically, one tailored to a player's every ergonomic desire and technical idiosyncrasy-can enhance a guitarist's tone and performance. Perhaps we also forget that some guitars have souls that influence our playing in mysterious ways. (Just ask Clapton about Blackie, or B.B. King about Lucille, or Brian May about his Red Special.) The lesson here is just because you can easily replace an instrument that's broken, cranky or sickly, it doesn't mean that you should. In some cases, a few simple repairs can bring a guitar back to life-or even make it better than ever. And don't forget the whole concept of hot-rod ding. With a little guidance and tech savvy, you can swap pickups, futz with wiring and enlist some other tricks to make a cheap guitar rage like a cornered panther, or turbocharge a fine guitar until it's something truly magical. As Ezrin revealed, it all comes down to the guitar and what you do with it. And that's where Dan Erlewine becomes your guru, mentor, coach, visionary, taskmaster, guide and, most likely, savior. Dan knows more about guitars and guitarcraftthan pretty much anyone left standing on this planet, and decades of his wisdom, tips, and techniques are encapsulated in this musthave book-which should now and forever be your guitar-repair bible. Dan has been a vital and much-respected member of the Guitar Player family for many years, writing the seminal "Repairs & Modifications" column, as well as the "Repairs" column and the innovative "Mod Squad" feature (which profiled Dan's youthful shop crew pimping out various guitars) during my tenure as editor. Dan has also produced several how-to DVDs, and is currently developing a series of video repair guides for Guitar Player's Web television station, GPTV. To quote a cliche, "Dan is the Man." But that's the whole truth. And after this book inspires you to transform your guitars into the easiest-playing, best-sounding machines you've ever plugged into an amp, you'll probably build a little shrine to Dan Erlewine in your music room, rehearsal space or home studio. Yeah, you'll be that thrilled with your instruments, and the man deserves it. Now, read on and start making your guitars play better and sound great. Guitar Player

... serious problem. Most acoustic guitars with problems suffer from sharpness and need to be compensated by adding to the string length. Occasionally, though, flat- ness caused by over-compensation isfound on acoustics on which the bridge has been installed out of position. Don't expect the guitar you buy to have perfect intonation. Tweaking the intonation needs to be done to suit the the individual player's needs, governed by the factors mentioned here. When setting intonation, we try to get a stri ng to play the same note when fretted at the 12th fret aswhen played open, only an octave higher. In theory, the distance from the nut to the 12th fret isthe same asfrom the 12th fret to the saddle. The 12th fret octave is the halfway point of the scale (scale length equals the measurement from the nutto the 12th fret, times two). In practice however, the string length must be increased to compensate for the sharpness that results when the string is pressed down during playing. The mathematical distance of the scale is based on a straight line from the nut to the saddle's center, but when you press the string down it becomes stretched, and goes sharp. This isa basic explanation of the need for compensation. Add in the factors below, and you'll see why the seemingly simple job of setting the intonation can cause you to tearyour hair out before you finally take the guitarto a repair shop, so they can teartheir hair out! The closer the strings are to the fingerboard, the less compensation is needed, since the strings go sharp lesswhen pressed. However, guitars with lighter strings generally need more compensation than heavier ones, since asstring tension decreases (going from heavier-gauge strings to lighter), the compensation need increases.Therefore, the lighter the strings and the lower the tension, the more need for compensation. So, perhaps one cancels out the other. Confusing, but you can prove it for yourselfby trying this test: Using an electronic tuner, check your guitar's intonation on the low Estring at concert pitch. Retune the string to D.lt will intonate sharper, which indicates the need for more compensation, or added string length. That's why the modern electric player, who uses .010 strings or lighter, often searches far and wide to find a repairman to set the intonation.
Wound strings need more compensation than plain ones. Because of their extra weight and slower, low-pitched vibrations, wound strings need more clearance from the fingerboard to avoid buzzing. The extra clearance isgained by raising the string height from the fingerboard for wound strings. This increase in heigh causes the strings to go sharp more than the unwounds when depressed. This iswhy bridge saddles slant toward the bassside on steel-string acoustics or electrics. I like the term "speaking length" of a string. Franz Jahnel's comprehensive Manual of Guitar Technology refers to the mathematical string length asthe "true" length (the measured distance from nut to bridge saddle), and the actual vibrating length asthe "playing” or speaking, length. A string, especially a wound one, doesn't actually start vibrating, or speaking, until it gets a certain distance from the nut orthe saddle. So, part of the string's length (in terms of sound) isalways lost-another reason for compensation. Notice that c1assicaI guita rs have sadd les with no slant. Why? The wound strings have a stranded core rather than a solid one, and sharp out at a rate similar to that of the solid nylon treble strings. Classical strings have a more even tension acrossthe fingerboard than steel strings. Therefore, they require close to the same amount of compensation per string, and in general are more uniformly spaced from the fingerboard in terms of height. You may find saddles that have been slightly filed off-center (compensated) under the Band G strings some classicals. Instruments with longer scales need less compensation than shorter-scaled ones, because the longer string must be tighterto reach the same pitch. Thus the longer string is lessapt to be sharp when fretted and needs lesscompensation (the higher the tension, the lessa string goes sharp).The two most common scales are long and short. Long scales are 25-112" or thereabouts (these include Strats, all their clones, and many Gibsons; Martin uses a 25.4" and guild a 25-518",but we lump them all together as long scale): short scales are 24-314" or thereabouts (Gibson Les Pauls, ES-335s,smaller Martins at 24.9",etc.).Classical guitars have long scales.There are many other scales, but only a few really common ones: a "medium" 25" scale is used ...

This Repair Guide is the leading step-by-step

maintenance manual for every guitar owner. New
in this edition: the content is highlighted for you based
on your skill level.

Basic: If you're not handy with tools, use the basic sections to keep your guitar out of the repair shop and playing its best.
d.i.y. If you're a do-it-yourselfer, th is book shows you how to do both simple and advanced repairs.
deep If you want to go further into guitar repair, the
deep sections are for you.

A few sample topics include:
Cleaning your guitar: what to use
How (and when) to adjust your own truss rod
Electric guitar adjustment, including Fender's own 10-step Strat setup"

Free DVD included. Dan shows you:
How to evaluate any guitar before buying
How to set your own intonation (It's simple!)
How to install strings without damaging your guitar

Computer files on the DVD:
Printable guitar assessment forms useful for repair work
1 Cleaning and care

basic basic
Supplies 1
Cleaning the finish
Cleaning the fingerboard
Avoiding cracks, dealing with humidity

2 Installing strings
basic
Installing strings on electrics
Installing strings on acoustics 1
Installing strings on c1a~sicals 1
3 Neck evaluation and truss rod adjustment
basic
Neck evalution
d.i.y.
Truss rod adjustment
Understanding relief
Pro-quality straightedges
Typical neck adjustment scenario
deep
Rescuing a broken truss rod
4 Setup and action
basic
What is a setup?
d.i.y.
The basics of setup
Setting up an electric guitar
Setting up a guitar with tremolo
Setting up an electric bass
Setting up a flattop acoustic
Setting up an archtop
Setting up a classical
deep
Low action and the blues
Setups for pro players: Stevie Ray Vaughan and Jeff Beck
John Mooney's slide
Albert Collins
BuddyGuy
B.B.King

5 Intonation and compensation
basic Understanding compensation
d.i.y. Setting intonation
Adjustable bridges (electrics)
Non-adjustable bridges (acoustics)
deep Buzz Feiten Tuning System

6 Tuning machines
Tuner basics
d.i.y. Installing tuners
Steinberger tuners
Tuner repairs, broken mounting screws
Damage from over-oiled tuners
deep
Rotted plastic knobs
Making new tuners look old
Reconstructing rotted knobs

7 Electric guitar bridges: non-tremolo
basic
The manyTune-O-Matics
TonePros and Pigtails
Steve Rowen on T-O-M hardware
d.i.y.
Slotting Gibson bridge saddles
Adjusting an ABR-1bridge radius
Bridge posts and tailpiece studs
De-rusting metal bridge saddles

8 Electric guitar bridges: tremolos
basic
Setting up your tremolo system
d.i.y.
Floyd Rose installation and setup
Kahler installation and setup
Fine-tuning a Strat tremolo
The Trem-Setter
Roller nuts
deep
String benders

9 Acoustic guitar bridges
basic
Fitting flattop bridge pins
Evaluating acoustic action
d.i.y.
Replacing a bridge saddle -
Archtop bridges
Fitting an archtop bridge

10 Acoustic body repairs
d.i.y.
Clamps and glues
Closing and gluing cracks
Gluing loose braces
deep
Reattaching loose bridges
Bridge pad problems
Neck resets

11 Necks

basic d.i.y.
Fender guitar neck shapes
Fender bass neck shapes
d.i.y.
Installing bolt-on necks
Fret buzz in the high registers
deep
Broken pegheads

12 Fretwork
basic
What to expect from afret job
d.i.y.
Loose frets
Fret files
Compound radius fingerboards
Fret dressing
Refretting:
Choosing yourfretwire
Hammer-in method
Compression fretting
Martin bar-style fretting
The glue-in method
Bound fingerboards
Vintage Fender fretting
Fret slots and tang size
deep
The neck jig
The Plek machine

13 Nut replacement
basic
About nut replacement
d.i.y.
steps for replacing a nut
Tools
Removing the old nut
Roughing in the blank
Cutting slots, finishing up
String spacing

14 Bindings and pickguards
d.i.y.
Loose bindings
Shrinking Strat pickguards
Regluing an acoustic pickguard

15 Guitar electronics
Tools and supplies for electronics
Soldering technique
Using a multi meter
Caps and pots
Switches
Shielding
Acoustic guitar amplification
Seml-hollowbody wiring
Pickup replacement
Pickup repair
Rewiring, modifications
Wiring diagrams
deep
Wind your own pickups

6 Finishing and finish repairs
d.i.y.
A basic finishing schedule
Spraying necks and bodies
Finish repairs
Supplies for finish repairs
Fixing chips
Fixing dents and scratches
Touching up color
deep
Faking an aged finish

17 Shipping a guitar or amp
How to pack a guitar
How to pack an amp

18 Tools
basic tool list
d.i.y. tool list
deep tool list
sharpening chisels and scrapers

19 Resources and schools
Training for a career in lutherie
Lists: schools, suppliers, organizations

Index

Availability:

1197 GUITAR PLAYER REPAIR GUIDE.

Euro 24,00

Quantity

GUITAR PLAYER REPAIR GUIDE. D. Erlewine. 300 Pagine di consigli per la riparazione, mantenimento, accorgimenti, direttamente dai più noti liutai. Dalla corretta sostituzione delle corde (B.B. King usa avvolgere l'intera corda alle meccaniche) alle verniciature, con riferimenti in micron alle chitarre di Eric Clapton S.R.V. e tanti altri.

Availability:

6681 BUILDING A SELMER MACCAFERRI GUITAR, M. Collins.

Euro 104,99

Quantity

BUILDING A SELMER MACCAFERRI GUITAR, M. Collins.

BUILDING A SELMER-MACCAFERRI GUITAR
by Michael Collins
Author: Michael Collins
Design: Wayne Nakamura/HyperHip
Photography: Wayne Nakamura/HyperHip
Cover Photography: Dieter Hessel
Building a Selmer Maccaferri Guitar details the step-by-step construction of the laminated European style Jazz guitar, made famous by the great gypsy jazz guitarist, Django Reinhardt.

Topics covered include:

- Wood - Gluing the Body - Tools - Binding - Sharpening - The Fingerboard - Molds - The Neck - Lamination - Finishing - Rim Assembly - Bridge - Liners - Hardware - Bracing the Back - Set-up - The Soundboard - Pickups

From producing the "pliage", to inlaying the rosette, preparing the laminate, carving the neck, to applying the finish, each topic is discussed in great detail.

Construction techniques for both the short-scale D-hole instrument and the long-scale Oval-hole guitar are covered.

Over 275 photographs and 75 diagrams positioned throughout the text to help even the novice builder understand and complete each process. The book is 8.5" x 11", perfect bound, laminated cover.

Availability:

6803 HOW TO MAKE DRUMS, TOMTOMS AND RATTLES. B. Mason. 2009

Euro 8,00

Quantity

HOW TO MAKE DRUMS, TOMTOMS AND RATTLES.
Primitive Percussion Instruments for Modern Use.
Bernard S. Mason.

Per costruire percussioni in proprio.

Making your own primitive instruments from simple materials such as coffee cans and flower pots. Includes 121 figures.
Pages 208.

Availability:

CHITARRA LAMPO