The Uke Book Illustrated E-Book

John Weissenrieder

• Herausgeber: Fox Chapel Publishing
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 170

Beschreibung

In this beautifully illustrated book, a master luthier and a painter tell their story of the creation of a musical instrument. The Uke Book Illustrated clearly explains every step of the process through concise notes and informative drawings in the format of a graphic novel. This artistically conceived and executed book reveals the practical aspects of an ancient trade, showing of the preparation and selection of materials, assembly and construction, the tools and jigs, and how to approach the work. Anyone who wants to use this book as a guide or manual will be able to proceed chapter by chapter and drawing by drawing during the realization of his or her own instrument. Anyone wanting to gain insight into how a musical instrument is made will appreciate the clear and informative line drawings and the beautiful watercolor illustrations that fill every page. In the end, this book is not just for crafters and woodworkers, but for musicians, artists, and anyone who enjoy a good story and are fascinated by the process of creating something with one's own hands.

Leseprobe

In loving memory of John Weissenrieder

Dedicated to the 286 Kickstarter backers who helped launch this project

© 2019 by the John Weissenrieder Estate, Sarah Greenbaum, and Fox Chapel Publishing Company, Inc., 903 Square Street, Mount Joy, PA 17552.

The Uke Book Illustrated is an original work, first published in 2019 by Fox Chapel Publishing Company, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright holders.

Illustrations by Sarah Greenbaum.

Print ISBN 978-1-4971-0007-7

eSBN 978-1-6076-5707-1

The Cataloging-in-Publication Data is on file with the Library of Congress.

To learn more about the other great books from Fox Chapel Publishing, or to find a retailer near you, call toll-free 800-457-9112 or visit us at www.FoxChapelPublishing.com.

We are always looking for talented authors. To submit an idea, please send a brief inquiry to [email protected].

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at [email protected], stating the 9781497100077 and The Uke Book Illustrated of the book in the subject line.

INTRODUCTION

Rosewood, walnut, mahogany, and cypress.I smelled the woods. Chisels, knives, saws, brushes, and glue. I saw diligence and passion.

I am naturally a curious person. Coming out of art school, the world felt like my canvas.

My senses were struck with curiosity the first time I entered John Weissenrieder’s workshop in the historic part of Florence, Italy. There were unfinished instruments hanging from the walls, scraps and shavings from spruce wood layered the floor. This was where John and I first met, in his workshop, in what he considered to be his sacred space to focus, build, and play.

I was fascinated by John’s knowledge and deep understanding of his materials. Not only was he incredibly well versed in the history, methods, and theories of guitar making, but he was willing to share everything he knew. He spent time talking with me about the distinguishable characteristics of wood, like the tightness, the directionality, and the color of the grain. John would often tell me stories of his travels around the world searching for the old methods used by practicing guitar makers hundreds of years ago. When he finally moved to Italy to study with Andrea Tacchi, to whom he dedicated much of his practice, he found his home and decided to stay there.

After a few visits to the workshop and a couple of cappuccinos in the piazza, an idea sparked, to combine our skills and knowledge and create an illustrated book about how a musical instrument is made. The idea was for the book to not only stand or sit as a manual, but to also be an artistically conceived and executed book that portrayed the poetry and mystery of the ancient trade of lutherie. It gives insight to the innumerable practical aspects of the preparation and selection of materials, assembly and construction, the tools and jigs, and how to approach the work clearly.

Every step is explained through concise instructions and informative drawings.

Artists, craftsmen or craftswomen, instrument makers, DIY enthusiasts, and anyone who wants to use this book as a guide or manual will be able to proceed chapter by chapter and drawing by drawing during the realization of his or her own instrument. It is a challenge that anyone can complete, whether it’s in a woodworker’s shop or perhaps in a small bedroom with a tabletop to work on, like the desk John helped me build while I was learning and drawing the methods.

In 2015, a year and a half into the development of this book, John was diagnosed with pancreatic cancer. During the last several months of his time in Florence, he spent countless hours devoted to this book, making sure there were no gaps left unfilled. John was determined to share his knowledge with other luthiers and anyone wanting to gain insight into the craft. It was an honor to work one-on-one with John. He taught me how to see the details in the handmade and to have the boldness and confidence to chisel, saw, and sand wood step-by-step toward beautiful results. John passed away in the early summer of 2017.

I thought the age of passing knowledge through apprenticeship and barter had faded into our pedagogical history. John was a joyful reminder that these teachers are out there, teachers who want to share what they know for the love of the craft. Though he won’t be able to hold a copy of this book in his hands, I know how happy he would be to see it in the hands of so many others.

–Sarah Greenbaum

NOTES FROM THE AUTHOR ON HOW TO APPROACH THE WORK

1. Begin with a clear idea. Know what it is you are aiming for, be it the exact location of a cut, the thickness of the soundboard, the curves of the heel, the smoothness and/or flatness of a surface, or something else.

2. Think globally. Imagine the task at hand in the broadest possible context. For example, if you’re working on a fret, be aware of the frets around it, the surface of the fingerboard, etc.

3. Check what you are doing. You want to sand something flat? Check to see that the sanding block is flat, that the straightedge is really straight, that the square is square, that your rulers agree with each other, and so on.

In this manual, each step will begin with a detailed, very carefully prepared drawing that should serve to communicate the clear idea to have in mind throughout the sequence. This will be followed by some notes about the big picture: the who, what, where, when, and why of that step. Then there will be some hints about how to proceed and how to evaluate the progress with respect to the goal.

Contents

Chapter 1 Anatomy

Chapter 2 Tools

Chapter 3 Neck and Head

Chapter 4 Soundboard

Chapter 5 Back

Chapter 6 Sides

Chapter 7 Assembly

Chapter 8 Bindings

Chapter 9 Fingerboard

Chapter 10 Shaping the Neck

Chapter 11 Bridge

Chapter 12 Frets

Chapter 13 Finishing

Chapter 14 Setup

Acknowledgments

Millimeter-to-Inch Conversion Table

CHAPTER

1

ANATOMY

LET’S MEET OUR UKULELE IN ITS FINISHED FORM FIRST, TO LEARN THE NAMES OF ALL OF ITS PARTS.

Headplate veneer

Cres

Tuning machine

String post & button

Head

Nut

Fret

Fingerboard

Neck

Heel

Heel cap

Neck block

Kerfed lining

Side

Binding

Purfling

Rosette

Soundboard

Bridge

Saddle bone

Tie block

Wing

Tail block

End graft

Fan brace

Bar

Back bar

Back

Back joint reinforcement

Rib block

Plantilla

Diapason

Fret position markers

Strings

Soundhole

Label

Sound box

AND NOW, LET’S MEET THE UKULELE IN ITS RAW-MATERIALS STATE.

The shape (plantilla) of the instrument shown in this book is reminiscent of the Spanish classical guitars of the early 1900s. Compared to many industrial ukuleles, the shoulders are slightly more squared off, the lines of the waist are straighter, and the lower lobe is weighted toward the bottom of the instrument. It’s an elegant shape compared to the more whimsical, circular curves found on most commercial instruments.

On the following pages, you’ll find scaled drawings of a tenor ukulele. Whether you use these plans or come up with a design of your own, it’s a good idea to print out a complete set of full-size drawings and keep them at hand throughout the assembly of your own ukulele. On these drawings, you’ll find exact answers to a lot of the nagging little questions that invariably come up during the building process.

The shape you use is up to you. I don’t recommend deviating too much from traditional shapes and proportions on your first instrument. Significant variations in the volume (cubic cm or cubic inches, not loudness) of the sound box and in the diameter and/or area of the soundhole can have a significant effect on the resonant frequency (the Helmholtz frequency, for science buffs) of the instrument, which in turn affects the harmonic response and timbre of the instrument.

The geometry of the fingerboard and the relationship between the neck and the body of the instrument are important. Unless you have a thorough understanding of the dimensions, relationships, and angles involved, stick to these plans or plans from another proven design.

Vibrating strings

The playability of the instrument depends mostly on the height of the strings above the frets and the relative flatness (or very slight curvature) of the fingerboard/frets. It’s easier to get all the notes playing distinctly and cleanly without having to set the strings too high on a small instrument, such as the tenor ukulele, than it is on, say, a guitar, where the scale length is longer, the string tension is higher, and there are more strings.

Everyone wants to know how to make an instrument that sounds “better.” There are no magic answers. The best way to ensure a satisfying result for the beginner is to follow a tried-and-true design, use quality materials, and work with the best craftsmanship you can.

It is generally agreed upon by luthiers that the soundboard is the most important element when it comes to good sound. The soundboard is the part of the instrument that pumps the air, much like the cone of a loudspeaker does. The soundboard transforms the energy of the vibrating strings into sound waves that move through the air. The soundboard imparts innumerable subtle frequencies and timbric nuances that give each instrument its own unique voice. Other important factors in determining the timbre or voice of an instrument are the strings and the player’s attack, or how and where the string is plucked and with what (fingernails, pick, or fleshy fingertips).

The whole instrument vibrates when it is played—the head, neck, back, sides, and top Any spot that is too weak to hold up to the tension of the strings, or too heavy and strong to vibrate freely and harmoniously with the rest of the instrument, will produce a compromised result.

The tenor ukulele weighs about 750g (1lb 10oz), or about as much as a kitten. The accumulated tension of the four strings is about 30kg (66lbs), comparable to a big sack of rice. To support all that weight (or, in the uke’s case, tension) and still sing out, it takes a strong and clever kitten! Or, rather, a well-designed and well-built ukulele.

MATERIALS

All dimensions are length x width x thickness unless stated.

Top

Plates: 32cm x 12cm x 3mm

Rosette (inside diameter): 70mm

Struts (3 pieces): 18cm x 7mm x 12mm

Soundhole reinforcement:

8.2cm x 10cm x 2mm

Neck

Neck blank: 33cm x 7cm x 18mm

Head blank: 12cm x 7cm x 12mm

Heel block: 9cm x 7cm x 55mm

Headplate veneers:

13cm x 7cm x 0.5-2.0mm

Back

Plates: 32cm x 12cm x 3mm

Center reinforcement: 27cm x 1.8mm x 2.5mm

Bars (one each):

18cm x 7mm x 12mm

15cm x 7mm x 12mm

23cm x 7mm x 12mm

Sides

51cm x 7.5cm x 1.8mm

Fingerboard and friends

Fingerboard:

28cm x 36mm x 46mm x 5mm

Frets: 86cm

Position markers: 6 pieces

Kerfed linings: Make 4 lengths of 25cm of each type, plus one extra.

Bridge blank: 11cm x 25cm x 1cm

Nut & saddle

Rib supports: 10 pieces, 3cm x 7mm x 7mm

Tail block: 7.5cm x 5cm x 1cm

Bindings, purflings, heel cap, end graft

Tuners, 4

Strings

CHAPTER

2

TOOLS

Wood glue

Spring clamps

Lighting

Ruler

Coping saw

Left bevel

Right bevel

Nippers

Hammer

Ryoba saw

Bar clamp

Angle

Chisel

Tape

Wood scraper

Dozuki saw

File

Rasp

Block plane

Pencils

Square

Sanding block

Glue spreader

Cam clamp

Chisels

The narrowest chisel is needed for a few key operations: cleaning out the slots for the sides in the heel block and preparing the binding channels. The 3mm chisel is useful in cutting the binding channels; the 6mm or 12mm chisel for trimming and shaping the fan struts and bars; and the wider chisel for general trimming and truing.

Double bevel

Left bevel

Right bevel

Small utility knife with long-pointed blades

Left, right, and double bevel are 19mm each. If you’re right-handed, the right bevel is the one you’ll use most often. Both left and right are needed, especially for the curves of the neck and heel block. The double bevel is handy but not essential; in a pinch, it could take the place of the other two.

Block plane with toothed blade

Finger plane

The toothed blade leaves a true surface that can be quickly smoothed using sanding blocks. It is also effective on difficult-to-work hardwoods. The finger plane speeds up and adds precision to the shaping of the fan struts. A sharp, well-tuned plane is a pleasure to use.

Ryoba

Dozuki

Coping saw

Saws include a 210-240mm ryoba (0.45mm-thick blade/0.6-0.7mm kerf for fret slots), 150mm dozuki, and a coping saw. The precise cuts necessary in instrument construction require sharp saws. The ryoba is for roughing out the neck and head. The dozuki’s fine, precise cut is just right for cutting the slots for the sides in the heel block. Keep one of the saws, such as the dozuki, as sharp as possible, using it for only the most important cuts.

Squares and rulers are needed for layout and marking. Use a 15-20cm ruler, a caliper (0.1mm accuracy is sufficient), a 60cm ruler, and a small combination or carpenter’s square.

Pencils are of course needed. Use fine (0.5-0.7)/hard (h) pencils for precise lines and soft 2b ones for general layout.

A note about measuring and marking: when precision is important, mark measurements using a “v,” the point indicating the desired dimension. The intersection of the two legs of the “v” indicates an exact, nearly dimensionless point, whereas a line has some thickness, not to mention that it may waver a bit.

Cutting the line

Leaving the line

Cutting the line vs. leaving the line: When an exact cut is called for, a crisp, clear, correctly placed line is essential. Don’t underestimate the importance of the proper use of a sharp pencil!

Cam clamps, 3

Bar clamps, 4: 50mm x 100mm

Spring clamps, 4

Clothespins

Kerfed lining clamps

Several long-legged clamps are needed to straddle the side and put pressure on the kerfed linings while the glue dries during the 1st and 2nd phases of assembly. 10 are sufficient if the linings are glued in 3 phases, or 30 if it’s to be done in one go.

These clamps are very simple to make and work perfectly. They can be made from easily found materials. The exact dimensions are not critical. Legs of 6mm x 9mm are sturdy enough.

The ingenious thing about these clamps, aside from their simplicity, is the sliding pivot block.

If the pivot is positioned near the rubber band, the clamping force is low and the clamps are easy to open.

Once positioned, the pivot is slid upward to the tip of the legs, increasing the “lever” length and the clamping pressure. Feel the difference?

The best “rubber bands” for these come from a bicycle inner tube, cut to size, to dial in the strength of the clamps.

Sanding blocks

These come in a variety of sizes, like 7cm x 2cm, 3.5cm, 5cm, or 13cm. They are coarse on one side (80 grit) and medium on the other (120 grit). Sanding can be considered to have 3 phases, shaping, smoothing (removing scratches from cutting or coarser sanding), and prepping for finishing/varnishing.

Generally speaking, coarser than 120 grit is for shaping, finer than 120 is for smoothing or taking out the scratches left by coarser grits or sawing. 220 or 320 are for final sanding in preparation to apply finish. 120 grit is a jack-of-all-trades and can be used for lighter shaping without leaving heavy scratches that will be tough to remove later. If you need to change the shape of the piece, use 80 grit; if you need to smooth it out, use 120.

A word of caution: more control is granted by the use of sandpaper stuck to a flat block with adhesive, rather than wrapping the paper around a block. The paper will tend to bulge at the edges, and the resulting “cut” will be uneven.

When sanding freehand or to sand curves, cut/tear and fold the paper like this; it will aquire the right rigidity, and there are no abrasive surfaces in contact with other abrasive surfaces, so the paper lasts longer. When one face is consumed, refold the paper.

Sharpening

Sharp tools are paramount to precise work, giving the craftsperson superior control. They are much more predictable and require less force to use, and therefore are safer. A well-sharpened plane is said to “sing” when cutting, and indeed there is a certain inherent pleasure in using a well-honed blade, be it a plane, chisel, knife, scraper, or saw. It’s well worth the effort to learn how to prepare your edge tools for optimum cutting.

With a little practice and minimal expense, professional results can be achieved at home using abrasive papers on plate glass (or an extremely flat piece of granite or other stone) and a simple honing guide. The abrasive papers will adhere to the flat surface when wetted (and they are to be used with water) and can be easily changed when worn out or when it’s time to change grits.

The edge is where the two surfaces meet. A “flat” and a “bevel” are called a single bevel. If both sides are beveled, it’s called a double bevel. Sharpening can be broken down into two phases: shaping the blade and polishing its surfaces.

Shaping is done using coarse abrasives (220-400 grit). The goal now is to establish a perfectly flat back surface and a correct angle to the bevel side; 30° is typical. Scratches from the abrasives are still okay at this stage; they’ll gradually be polished out, leaving a sharp edge.

Next, the coarse scratches are removed using a fine grit (1000) and then the blade is polished using a super-fine grit (2000-4000). The resulting edge should have a mirror finish. Seeing as it’s not necessary to have the whole blade shining like a mirror (1.5mm at the cutting edge is sufficient), a micro bevel can be created.

Changing the sharpening angle slightly ½ degree is sufficient) creates a micro bevel, which doesn’t affect the overall flatness of the bevel or blade back in a significant way. High-quality honing guides have a feature that allows for the micro adjustment of the angle for the final polishing. Otherwise it is easy to improvise a guide for the micro bevel: simply shim up by about 1.5mm the back support (or roller) of the honing guide.

Many honing guides don’t accommodate knives, so the bevel side(s) will need to be sharpened by hand. The back is lapped flat using the same technique as used for a chisel or plane blade, without the use of any honing guide; but the bevel is most often done freehand. Be as steady as possible, avoiding rounding over the bevel at all costs.

Specialty tools

Circle cutter, for the cuts that define the rosette channel

3 blocks of hardwood (or good-quality plywood), approx. 1cm x 2cm x 2.5cm

1 slat of hardwood, 2cm x 5-6mm x 8-10cm

Blade from a box cutter/knife

Nail and drill bit, approx. 2.5mm diameter

3 screws, 3mm x 15mm, flathead or pan head (to fix the “beam” to the center-pivot block and the blade-holding block)

3 washers, 12-15mm diameter

Pivot block

Blade-in holding block

Beam

Nail

Screws

Washers

The blade sticks out 0.5mm from the slot, so pressure from the slot holds it in place. Once assembled, make a test cut; set it to cut a circle approximately 70mm in diameter, and make the full-circle cut. Make the first pass very light, gradually deepening the cut to the full depth in the successive passes. If the blade “drifts,” check to see that it’s square to the pivot, and make any necessary adjustments to the blade-holding block, such as re-cutting the slot. Continue testing and adjusting until the cut is of a constant radius.

Grimel

The grimel is used to score the top, back, and sides for the purfling and binding channels. It’s a simple and versatile tool you can make from hardwood. It uses snap-off blades from a small utility knife and a screw or bolt to block the sliding arm.

Parts list:

Body=hardwood 2.5cm x 1.5cm x 8cm

Arm=hardwood 12mm x 12mm x 8cm

Pan head screw 3mm x 10mm