Editorial corrections and additions, Ultimate Mandolin
Constructng a Bluegrass Banjo Virtual content
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Where to find band clamps: I've had many questions on where to find the Jorgensen canvas band clamps. They are hard to find at most stores, but they are still available from the manufacturer. The company is now called Adjustable Clamp Co., and their web site is www.adjustableclamp.com. Their web page for band clamps is www.adjustableclamp.com/bclamp_pg.htm. The company's address is: 417 North Ashland Ave., Chicago, IL 60622, 312.666.0640.
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Making steam pipe out of PVC pipe and steam kettle: Several readers have asked about alternate methods of making a steam chamber. One suggestion was connecting a steam kettle to a PVC pipe. I strongly urge that you do not attempt this kind of construction as there is risk of explosion resulting in serious injury. While it is possible that a steam kettle under vigorous boiling could generate sufficient steam for bending, I don not recomment connecting the kettle to anything else.
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Using sunken wood (aka "Timeless Timber") for rims and necks: There has been a lot of interest in using this wood for musical instrument construction and a bit of background might be beneficial. The story began 150 years ago in the heyday of timber harvesting when lakes, rivers, and their tributaries were the main conveyance of newly-cut logs on their way to awaiting sawmills. The freshly-sawn timber was what the industry calls “green,” still laden with high water content and not yet kiln- or air-dried. The harvests included just about every species of wood -- oak, cherry, poplar, ash, elm, maple, and more. These “green” timbers were heavy, and the sap-laden maple was one of the heaviest and many of the logs found their way to the bottom of the rivers and lakes before getting too far down stream. During the past 20 or so years, various local and government organizations sought to clean up the waterways and began dredging these old, soaked logs. Somewhere along the way, someone got the idea of trying to turn this waste into an asset and cure the logs using both kiln and open air drying methods. And, as a result, the wood has been harvested from the deep and used for everything from crates to furniture. About 10 years ago, some luthiers sought to try this wood for musical instruments and many stated that it was ultimate wood to use. I've tried this material for necks and banjo rims and have carved, bent, and finished it. And, for various consulting projects, I've had the opportunity to test its structure and evaluate its physiology. While this wood claims to be the be-all, end-all, I am not as impressed with this material for general musical instrument use as other luthiers seem to be. Because of its mass* I believe it can serve a vital function for banjo rims as the maple “timeless timber” weighs about 48 pounds per cubic foot compared to regular maple at about 36-38 pounds per cubic foot (and for banjo rims “mass” is important). However, I certainly would not use this wood in thin sections (as on guitar or mandolin ribs or mandolin backboards). Although it finishes well, the material is subject to checking and cracking in thin section, such as trying to bend it for steam-bent banjo rims. It also chips rather easily along the edge when shaping, so one must be careful when working it, especially on the corners of pegheads. Lastly, it is very porous and the open-cell structure of this wood is often revealed by glue oozing out in the strangest places under clamping pressure.
(If you're interested in learning more, I show a side-by-side microscopic comparison of “timeless” maple next to regular maple along with an explanation of why this wood is physically different, in my book The Ultimate Bluegrass Mandolin Construction Manual available at most music stores and luthier supply houses.)
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© Copyright 2006, Roger H. Siminoff, Arroyo Grande, CA USA.