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Journal of Cultural Heritage 27S (2017) S17–S25

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Wooden Musical Instruments Special Issue

A review of basic procedures for an organological examination of


plucked-string instruments
John Ray a,∗ , Aarón García b , Antonio Manjón c , Thomas Holt a
a
Guitar-Maker, Solares 50 bajo, Granada, 18009 Granada, Spain
b
Universidad Internacional de Andalucía – Guitar-Maker, Angel Ganivet 29, Churriana de la Vega, 18194 Granada, Spain
c
Guitar-Maker, Av. de la Playa 84, Sant Adrià del Besós, 08930 Barcelona, Spain

a r t i c l e i n f o a b s t r a c t

Article history: With the growing number of people interested in instrument-making and in playing historic instruments,
Received 5 January 2016 we find more and more people wanting to study these instruments. Museums and private collections
Accepted 22 February 2016 sometimes allow interested parties to study them but more often than not access is very limited in
Available online 20 May 2016
order to better preserve the artefacts. One strategy for allowing access to the information is to make a
detailed study of the instrument and to record the level of detail desired by the most demanding user
Keywords: (usually the instrument restorer or maker). The nature of a musical instrument, the hygroscopic wooden
Wooden musical instrument
structure and the effect of the tension of the strings make this task more complicated than examining a
Luthier
Restoration
static object. Very old instruments have often undergone restorations or repairs and these interventions
Historic Guitar must be recorded as posterior to the date of construction. This paper will propose a method and tools to
document these instruments. This is an extensive set of guidelines which will help scholars to standardise
this complicated task. The method described uses relatively simple tools but it should be noted that
much more sophisticated techniques are being borrowed from other fields. A detailed examination of an
instrument can help in its identification, aid in teaching lutherie, facilitate an appraisal, or simply record
the condition of an instrument as part of cataloguing it. Another important use for this documentation is
for making an authentic reproduction of the instrument which can then be played allowing the original
to be preserved in optimum conditions.
© 2016 Elsevier Masson SAS. All rights reserved.

1. Motivation and aims 2. Introduction

This paper will provide a tool for museum curators, conser- The circles of instrument-makers, restorers, museums, apprais-
vators, collectors and appraisers with which they can examine a ers and musicians all intersect when we speak of historic
plucked string instrument in an organised fashion. There are some instruments. Each group is interested for different reasons but
scientific techniques which are not readily available to those who without a doubt everyone would like to study these instru-
have access to the instruments but the following procedure uses ments. The more important instruments are locked away with
tools which can be purchased at relatively small expense or made very limited access but these are precisely the ones that every-
quite easily. The information collected and the photographs, draw- one wants to study or play. Museum curators, conservators and
ings, descriptions and recordings resulting from a study will be collectors are in a unique position to study these instruments but
important additions to the documentation of the instruments in might not be aware of what an instrument-maker is looking for
question. The authors have identified a lack of literature on this sub- when requesting to study an instrument. These recommendations
ject and perhaps even an unwillingness to share information about should serve to bridge the gap between these two groups and
how to fully document instruments and would like to contribute to allow the valuable work of the museum staff to be more useful
filling this gap. to restorers and instrument-makers. A detailed examination of an
instrument can help in its identification, allow a posterior repro-
duction, aid in teaching lutherie, facilitate an appraisal, or simply
record the condition of an instrument as part of cataloguing it. The
∗ Corresponding author. resulting documentation will be sufficiently detailed to allow an
E-mail address: johnguitar@johnguitar.com (J. Ray). expert instrument-maker to build an authentic reproduction of the

http://dx.doi.org/10.1016/j.culher.2016.02.015
1296-2074/© 2016 Elsevier Masson SAS. All rights reserved.
S18 J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25

instrument which is probably the best way to allow players access instruments. Some tools will have to be made by the examiner
to period instruments. Each end user will require a different level of such as paper rules (verified for accuracy), a wooden straightedge,
detail so it is important to get the most information possible even a second straightedge with cut-outs if necessary, various lengths
if some of the data are not deemed important by the examiner. This of wood and a chisel for cutting them down, various wedges, a
article intends to show one procedure for examining an instrument wooden calliper, a wooden depth gauge and relieved bed for res-
based on the experience of guitar-makers who also work restor- ting the guitar face down for drawing the outline. A large sheet of
ing historical instruments. As there is no accepted standard for paper on which to draw the outline of the guitar and a pencil cut
examinations of this type, the following procedure might serve as lengthwise are helpful here. The remaining tools necessary are: an
a starting point for the elaboration of a standard procedure. inspection mirror protected on the edges, drawing instruments, a
Before listing the tools that will be helpful for a complete profile gauge and a tuning fork. Images of the exterior should be
description, a few precautions and indications will be offered. Fol- taken with a camera with a polarising filter, interiors with a small
lowing these sections, the treatment of each of the different parts camera with a short focal distance (e.g. an endoscope) and lighting
and features of the instrument will be described. will be provide by a small flexible shaft flashlight and a LED lamp. A
voice recorder, masking tape, two small, strong magnets, books on
wood identification, some support for the neck of the instrument
3. Preliminaries
and a thick material to provide a soft surface will round out the list
of materials for the procedure.
We are dealing with fragile objects, easily cracked, scratched or
damaged by tools or surfaces. These instruments are part of our
cultural heritage and if you are allowed access to them someone
5. Architecture and geometry
trusts you to ensure that nothing is altered while in your power.
Obviously an instrument should never be even partially disman-
A good place to start is by drawing the outline of the instrument.
tled just to examine a joint or an interior. Often the very method or
The shape of the instrument is important for aesthetic reasons but
sequence of assembly is historically important and any work done
also because the volume of the soundbox is of great importance in
might cause information to be lost. A work area free of obstacles, a
determining the mode [1]. A large sheet of paper should be affixed
soft surface and avoiding metal edges are things that should be kept
to the bed and minimal cut-outs realised (bridge and fingerboard)
in mind. Using paper rules (verified for accuracy), covering metal
so that the paper stays flat and the edges of the top of the gui-
edges with paper tape and then subtracting the thickness of the tape
tar make contact with the bed (see Fig. 1 left). The outline should
from the final measurement and using plastic or wooden tools to
be realised with a half pencil pressed against the sides in order to
transfer measurements to the metal callipers are good techniques.
reduce errors to a minimum. In the case of most Spanish-made
A profile gauge for example can be used to transfer the shape of
instruments the traditional method of assembly starts from the
the neck to paper but some card stock should be placed between
top meaning that the top is the outline that will vary least from
the gauge and the neck. The slight inaccuracy caused by the card is
the original design of the builder. The outline of the back is often
certainly preferable to the alternative of marking the instrument.
noticeably different because the guitar was built without a mould
Some museums insist on the use of cotton gloves but it should be
or just because the wood of the sides is not perfectly curved. It is
noted that clothing should never be introduced into the opening
useful to record these differences but any work on the shape should
of an instrument because it can snag on a delicate part. Be precise
be based on the top shape. A square can be used to find differences
and mark the position where the measurement has been taken,
between the top and back outline as well as deformations of the
for example: Is the string height measured right below or on the
sides.
twelfth fret? Is the height of braces measured right at the front edge
The other thing that should be traced by outlining is the
of the bridge position or at the saddle position? Relative humidity
headstock (or at least the crest). Another method of tracing the
and temperature should be recorded at the time and place of mea-
headstock and its openings is to place paper over it and to use “rub-
surements and the margin of error should also be stated. The units
bing” with a pencil to make a copy of the shape. This is especially
of measurement should be stated at the beginning and respected
useful if the headstock is relief-carved.
throughout. Each measurement should be repeated several times
When the top plate is very thin the resistance and the func-
in order to avoid errors and to obtain mean values and standard
tion of the instrument can be compromised. The bracing of the
deviation.
top allows the builder on the one hand to reinforce the weak top;
Some of the principle aspects which should be taken into
the inertia of the top is modified locally by the braces to control
account when documenting an instrument are: dimensions and
the flow of tensions and the stress concentrators. On the other
the relationships between the different measurements. The thick-
hand, increasing the soundboard mobility increases the pressure
nesses of the plates used. The three-dimensionality of the
flow gradient inside the soundbox. Finally, adding a localised mass
instrument: arching, doming, the contours of any curved pieces.
obviously modifies the vibrating behaviour of the top and in turn
The materials used and the decorative elements. For a complete
has an effect on the sound.
examination of the instrument the strings should be removed, if
The internal bracing structure of the top can be highlighted in
the saddle, nut and pegs are not firmly fixed they too should be
a darkened room by placing a LED bulb (low-temperature) inside
put aside. Even if an accurate drawing is made the recorded mea-
the instrument unless the age or species of wood makes it opaque
surements should take precedence over the dimensions shown
to light. Spruce usually allows us to use this technique although it
graphically on the drawing. Paper can be damaged, can shrink or
does become more opaque with age. Actually visualising the brac-
can be incorrectly photocopied.
ing this way is interesting but using a paper rule on the outside of
the guitar with a light shining from inside is quite imprecise. This is
4. Tools and techniques only permissible when there is no better way because the lines are
not well defined through the top and shadows are projected and
Measuring tools per se should include: a protractor, a grad- vary according to the position of the light source (see Fig. 1 centre).
uated jewellers magnifying glass, feeler gauges, a good metal The position of the braces in relation to each other are best mea-
rule for comparisons, a vernier calliper to calibrate improvised sured using short lengths of wood which can be progressively cut to
tools and a magnet-based thickness gauge designed for completed size until they fit between the two elements or by making a gauge
J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25 S19

Fig. 1. Left: paper fixed to the bed for drawing the outline. Centre: low temperature LED bulb shows the interior structure of a Garcia guitar MDMB 1700. Right: shape of
each brace is observed with the aid of a mirror.

which can be varied in length. Another possibility would be to affix generally out of reach of the instrument-maker and furthermore
paper rules to the inside of the guitar with tape and then photo- the resulting data requires familiarity with CAD software. Thank-
graph them in position. In the case of some instruments access is fully, there have been low technology tools designed specifically
very limited and finding the positions of the braces on top, back and for taking these measurements in a straightforward manner and
even sides can be very difficult. In these cases, two magnets can be with enough precision for the purposes treated here. Some exam-
used and by moving the external one until the internal one meets ples are the Hacklinger gauge, the Magic Probe and Marconi Lab
an obstacle we can find the approximate position of the internal digital products. These tools function by recording the distance
structures. Another method for approximating internal structure between two magnets, one placed inside the instrument and the
without access to the inside is the use of a tuning fork to hear other outside in a detector assembly (see Fig. 2). The accurate cal-
changes as it passes from an un-reinforced area to an area with ibration of the tool is of fundamental importance. The Hacklinger,
a brace. A stationary paper pattern fixed to the top of the guitar as an example, uses a spring which is stretched until the detector
for recording the positions can be helpful. Once again, care must magnet is pulled away from the surface of the instrument. Its func-
be taken not to leave impressions on the instrument. This is a case tion is based on the limit of influence of a magnetic field. The travel
in which X-rays or ultrasound images of the instrument would be of the spring is calibrated to show thickness as opposed to force.
very useful. Thicknesses of plucked string instruments are usually quite uni-
Interior dimensions can be obtained using the wooden depth form over the area of the two sides and also in the area of the back.
gauge and callipers mentioned in the materials section. These mea- However, many builders attach great importance to the variations
surements should be performed and then the distance on the tool in thickness in the different regions of the top. Top measurements
should be measured with an accurate metal calliper. These wooden should be performed at points approximately two cm equidistant
tools are easy for a luthier to make and can be modified in situ if nec- from each other which will be enough detail for the most demand-
essary. For someone unfamiliar with woodworking the alternative ing user. It is recommendable to take several measurements at the
is plastic tools or metal tools protected with a layer or two of mask- same point to get mean values and standard deviations. These tools
ing tape. This will cause the accuracy to suffer and the thickness of work in a range of 1 mm to 8 mm with a margin of error of 0.1 mm
the tape must be subtracted from the measurements. which is sufficient for our purposes. Some of the suggestions in
The shape of each brace is best observed visually using a mirror this method require that the soundhole of the instrument in ques-
or some sort of camera (see Fig. 1 right). Now is the time to examine tion admit a hand and a tool or a camera. However, these thickness
visually the grain orientation and the scalloping. How long is the gauges can usually be used even in the case of instruments with
scalloped portion of each brace? How high is the end of the brace very small openings (f-holes) or tornavoz.
and of course is the brace a constant height along its length? This
is important as it is often not the case. Often the fan braces were
planed flat in the same curved form where they were glued and
this method of tapering is usually noticeable. The instrument may
give the impression of symmetry but left and right sides should be
documented.
When the strings are excited, both the top and the air inside
the soundbox vibrate according to their corresponding modes. In
general terms a greater amplitude of movement causes more air-
flow and therefore greater projection of sound. However, the top
is a structural element and cannot be completely free to vibrate as
it must withstand the tension of the strings at pitch (some 40 kg
depending on the tension and the number of strings). Therefore the
thickness of the top is a fundamental piece of information from the
point of view of construction and organology as well as structure
as it defines the inertia of the section.
Measuring the thickness of the plates of a closed box is not an
easy task and as has been mentioned, imaging technologies are Fig. 2. Using the Hacklinger gauge on the Torres guitar FE09 – MDMB626.
S20 J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25

The following techniques are also being used by those who have
access to them or the specialised knowledge required. X-rays can be
used to discover laminations, unexpected hidden joints, metal addi-
tions and of course interiors which are totally inaccessible because
of grills, carved roses or the presence of a tornavoz. X-ray micro-
tomography is being used for microstructure analysis [2].
Dendrochronology can be very helpful for determining the age
of an instrument, which can help to authenticate it or determine
where the wood came from [3]. It should, however, be noted that
in the case of Spanish instruments there is very little in the way of
reference chronologies elaborated for the commonly used Spanish
species [4]. Ultrasonic pulse-echo transducers are extremely use-
ful and accurate for measuring the thicknesses of components of
which the interior is inaccessible, as with tubular shapes. A probe
is placed on the surface and emits an ultrasound compression wave,
the excitation frequency of which must adjust to the nature of the
material. Each material type has a transmission capacity for ultra- Fig. 3. Measuring the original doming of the Torres guitar FE09 – MDMB626.

sound waves. The wave is transmitted through the material until


it reaches a different medium; this corresponds to the union of the
material with another or simply the end of the material. The probe (or back) and reproduce the arching. This technique assumes that
acts alternatively as transmitter and receiver and shows a read- the arch at a given x or y axis on the top or back is a part of a circle
ing of time of flight (TOF) of the wave. If the velocity of sound in (definitely so in the Spanish tradition). The easiest way to take these
that medium is known, it is very straight forward to calculate the measurements is to place a rule across the edge of the top tangent
thickness (speed = distance/time). The truth is that its application to the dome and then measure the amount of lift at the other edge
in the case of wooden objects is limited due to the fact that the of the plate. The straightedge must make contact with the top at
speed of sound through wood is so variable (due to the heteroge- the point where the side reinforcement ends (see Fig. 3). The lift
nous nature and the diversity of species [5]) as to be an unreliable at the opposite edge will allow an instrument-maker to reproduce
value for thickness measurement purposes. It remains to be inves- the original doming. It is not necessary to calculate the radius of
tigated if the different woods making up an instrument could be the curve as the relevant details are how deep to make a mould
examined for speed of sound by measuring thickness at one point to replicate or restore the instrument and to record how much the
with a magnet-based tool as a calibration step before proceeding doming has flattened over the years. In some cases it will be neces-
to take the measurements with the ultrasound probe. sary to make a “relieved” straightedge which allows clearance for
Most plucked-string instruments have slightly arched or domed fingerboard or deformations in order to take the measurements. It
top and back plates and this is of fundamental importance for both is very important to state the facts observed and that any extrap-
the luthier and organologist so we must try to accurately describe olation be stated as such. In reality, extrapolating accurately the
this arching. The state of the arching is important not only in the amount of curve is not possible, we can only estimate it and state
case of a restoration and with respect to the tension acting on the that there was curvature. Even if there is no indication of curvature
instrument but also to know the original intention of the guitar- it is not possible to state that there was a total absence of curvature
maker; a dome has considerable structural advantages to a flat top. as there is a possibility that the curvature was not uniform as is the
Often the shrinkage of the wood over many years in addition to case with carved top instruments.
string tension will cause the arch to flatten and in some cases even After performing these more specialised tasks most of the rest of
to become concave. Spanish tradition has the top and back built on a the work involves measuring one thing after another and carefully
curved work-board which imparts its doming to those plates. When recording it. Here too it is important to perform various measure-
the plates are fixed to the sides it is in such a way that the curvature ments in order to obtain mean values and standard deviation. These
of the plates continues right up to the edges. These reinforced edges are all external measurements (see Table 1).
will be quite stable over time and so even if the arching has flat- Weight is also an indicator of uncontrolled ambient conditions
tened we can examine the angle that the side makes with the top as it can reflect changes in humidity within the wood. A variation of

Table 1
Specific measurements that should be performed.

Part Features Part Features

Top Length (L1 ), upper bout (L2 ), waist (L3 ) and String Spacing at nut and saddle
lower bout (L4 ) (see Fig. 4) Peonesa Shape and size
Back Length, upper bout, lower bout and waist Bridgestrap Strap length, height and width
Sides Length, width at enough points to draw a profile Heel cap Length, height and width
Head Length, width at widest and narrowest points, thickness, Heel Shape (from the side and front) and
slots; width and length and position; holes, ramps measure inside and out
(where they begin and where they end) Binding Height and width
Fingerboard Width at three points (nut, twelfth fret, and soundhole) Linings and Grain orientation, height and width
thickness at four points, length reinforcements
Bridge Length, width, height at back and front and wings, Neck Profiles at first and ninth (or before the
width of tie-block and back lip, is it arched? the angle curve of the heel begins)
of the string holes, is the valley cut below the wings? Soundhole Diameter
record the saddle curve if it is not straight Headstock Angle
Scalelength Double the distance from the nut to the twelfth Weight Specifying with or without strings, pegs, etc.
fret and record the extra length (compensation) of Frets Positions
the bass and treble string Rosette Inner and outer diameter
a
Triangular blocks joining the sides to the top, see Figs. 6 and 7.
J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25 S21

Fig. 4. External measurements using the guitar as an example.

the mass over a short period of time can indicate that the humidity to prevent shrinkage cracks and locator pins in the fretboard and
has suffered a change . bridge.
The curvature of the neck can pose difficulties too as it can
6. How the instrument was made develop forward or backwards bowing depending on different fac-
tors. The curvature of the neck is recorded and any conclusions
Most of the joints on these instruments are quite straightfor- must be based on what we know about traditional set-ups and his-
ward but special attention should be paid to the neck to head joint, torical playing technique. We refer to neck curvature as “relief”
common methods being the scarf joint and the V-joint. Other joints when concave and “negative relief” when convex and it is measured
might be seen, such as Hauser’s half-blind V-joint and Lacôte’s blind with a straightedge (or fine and tightly stretched string) and feeler
joint (see Fig. 5 left) that he generally combined with the enclosed gauges. The space between the straightedge and the fret where the
tuning machines. Another joint which can be difficult to analyse is maximum distance occurs is recorded along with the position (fret
the neck to body joint. Traditional Spanish lutherie uses the inte- number) in the case of relief. The forward tilt of the plane of the neck
gral heel into which a channel is cut to receive the sides (see Fig. 6) with respect to the body of the guitar is something which deter-
while the French tended set the end of the neck into a mortise mines the height of the saddle and possibilities of adjusting string
in the neck block like a stopped, housed joint in the way the vio- height. Measure this by placing a straightedge from the bridge along
lins are made [6]. If the builder chose to disguise his work it can the fingerboard resting on the top. The slight rise of the neck with
be very difficult to know which method he used. In more recent respect to the straightedge should be recorded.
years, dovetails, splines, bolts and dowels are also used to attach The maker of the instrument might be determined by looking
the neck to the body. Other non-standard and hidden joints to look at the label, headstock, rosette, other inlays, the body shape and
for are: cross-grain supplements or laminations usually intended less so by other design elements and idiosyncratic methods or tool

Fig. 5. Lacôte and Laprevotte used a hidden neck-to-head joint while the Spanish (Torres) used a scarf joint.
S22 J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25

and the difference between handwritten and mechanically printed


text should be noted. Having information about other instruments
by the same maker can be very helpful.
When observing an instrument in general and especially if the
purpose is to produce some kind of output or documentation that
others will have access to, it is far more useful to be descriptive and
informative as opposed to being too judgmental about the obser-
vations made. In many cases the details of the instrument that we
observe, such as bindings, are not necessarily the work of the maker
but can be the result of a poorly executed repair in which the back
was taken off and then re-fitted.
The tradition the authors are most familiar with is that of the
top placed face down on a dished work-board and the rest of the
elements built up on it. There will be some signs that the instru-
ment was or was not made in this way and these should be taken
into account. Glue squeeze-out and the directionality of drips might
show the orientation of the instrument at the time of glueing giving
clues as to the order of assembly. A difference in grain orientation or
pattern on the inside or the outside of the heel might indicate that
the neck was fitted into the neck block and is not made of one piece.
Tool marks like those left by a toothing plane and pencil marks
provide information about how the maker performed his work and
should be photographed where possible. The curvature of the top
gives us information; Does the longitudinal curve reach from the
end-block to the neck or only to the centre of the soundhole? Both
cases are common in the Spanish tradition. Is the contour of the top
Fig. 6. The sides are fitted into slots in the neck in the Spanish tradition.
(edges) all on one plane?
The inlays of the purfling, rosette and bridge should be com-
marks that can be detected (see Fig. 7). Much work has been done
pletely documented, ideally photographically as well as with a
along these lines by Westbrook on the identification of Torres gui-
drawing. In the case of the rosette, notes should be taken as to
tars [7]. The label is rather an obvious clue but given the high prices
whether the mosaic is made with end grain or edge grain. Elements
demanded by some instruments: “[...] the label in an instrument is
such as inlaid mother-of-pearl should be fully described, includ-
often the least reliable piece of information [...]” [8]. In the interests
ing the surrounding material (mastic vs. wood) and if possible the
of avoiding absolute statements, the following terms are accept-
thickness of the piece. Mitreing or the lack thereof on purflings
able: “ascribed to [...]”, “attributed to [...]”, “labelled [...]”, “school
demonstrate changing aesthetic criteria over the years and so are
of [...]”, “workshop of [...]” The text on the labels should be tran-
important to record.
scribed according to international conventions for literary studies:
If the instrument has strings on or can be strung, the height of
a change of line should be represented by a slash; if part of the label
the strings at the bridge, the nut and the twelfth fret are important.
is missing or illegible that part should be written in parentheses;
The height above the table at playing position is also important
in the case of reproducing an instrument. It is usually sufficient
to take these measurements only for the “top and bottom” strings
with profile of the saddle recorded with the bridge information.

7. Documentation

The species of wood used should be identified using one of


many good reference volumes on the subject [9,10]. In addition to
the identification of the materials used, the number of pieces and
the matching of them is important. The most typical case today is
book-matched top, back and sides but with historic instruments
the number of pieces and whether or not they are from the same
billet should be assessed and recorded.
For those who are not confident in their abilities to identify the
wood species some high resolution photographs, perhaps taken
with a low-power usb microscope can allow the end user to reach
his own conclusions. This idea can be extended to decorative
aspects which are too small to measure with the naked eye.
Making a complete drawing is recommended so that the infor-
mation is available in its most complete form for others. The views
which should be drawn are:

• Overhead view of the body from the top, from the back and from
one side, the neck from the top and side, the head from the top
and side and the bridge from the top and profile.
• A recording, preferably with a musician familiar with the reper-
Fig. 7. As a personal trademark, the headstock shape is an important detail to record.
The initials of the maker, a signature or a stamp can often be found inside. tory and historic context of the instrument, is desirable if possible.
J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25 S23

Fig. 8. From top to bottom: Top thicknesses and the existing curve of the top. Schematic of the bracing and dimensions thereof. Schematic of the back bracing. Existing curve
of the back.

Photos should be taken with a good light source (preferably Either a linear or a circular polarising filter will aid in eliminating
with natural light) such as close to a window but without leaving reflections. Photographs of the front, back, bridge (three views),
the instrument in direct sunlight. The light on a cloudy day pro- rosette, head (three views), heel and label are essential but any
vides a good diffuse light that does not produce too much shadow. non-standard design elements, elaborate inlays or interesting grain
S24 J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25

Fig. 9. From top to bottom: Bridge dimensions. Headstock dimensions. Fret spacing.

patterns are also interesting. If a camera, or better yet an endoscope photocopier to acquire a whole image by exposing different exter-
with its own light source and camera, can be introduced inside nal parts of the instrument.
the instrument, pictures of internal elements can enrich the writ- An example of a data-sheet which further standardises and
ten information. Grain orientation, the shape and size of the end organises a particular examination is included in Figs. 8 and 9.
and neck blocks and the presence or absence of repairs are things A verbal description of the instrument can be dictated into a
that can be of visual interest. Signatures, stamps and any personal recording device for later transcription, if the owner or the instru-
touches should be photographed too. ment can be interviewed perhaps some historic information can
Photographs present a problem of parallax that is not a problem also be obtained. The current state of the instrument should be
for photographic documentation but certainly is when we try to recorded. Evidence of damage and subsequent restorations should
use the photograph for analysing shapes or relationships between be observed. Marks caused by sweat, water, fingernails, cloth-
elements. One way to avoid this is to use a flatbed scanner or large ing, cigarettes or even the instrument case can be examined.
J. Ray et al. / Journal of Cultural Heritage 27S (2017) S17–S25 S25

Any parts that do not appear to be original should be noted and and comparison between instruments for a complete and more
photographed. extensive documentation of historic instruments.

8. Conclusions Acknowledgements

A procedure for a complete examination and documentation of The authors are very grateful to Dr. Marco A. Pérez from IQS
a stringed instrument has been presented in the attempt to fill a Universitat Ramon Llull for his invaluable support and collaboration
void in the literature. It is not uncommon for plans to be drawn of
on this work and to the late Rolf Eichinger for his teachings. Many
museum instruments but each technician has his or her own needs thanks to the Museu de la Música in Barcelona for allowing us access
and intentions in doing so. A maker who wishes to copy an instru- to their excellent guitar collection. We are greatly indebted to the
ment often finds that the necessary information is not present in the work of R. E. Bruné in this field and to José Luis Romanillos Vega for
documentation available. This proposal intends to create a standard
his pioneering work in guitar organology. Anonymous reviewers
whereby each examination, drawing or documentation contains are thanked for constructive suggestions.
enough information to satisfy the most demanding user avoiding
the need for each and every instrument-maker, restorer and his-
torian to perform their own examinations after the difficulties of References
obtaining permission from the museums or collectors. Some very
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due to the inaccessibility to many readers. Museums, however, are [2] N. Sodini, D. Dreossi, R. Chen, M. Fioravanti, A. Giordano, P. Herrestal, L. Rigon, F.
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This procedure was developed by guitar-makers, a group which re-examination of the “messiah” violin and other instruments attributed to
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traditionally also makes some other plucked-string instruments [4] E.R. Trobajo, Dendrocronología de instumentos musicales. La producción de
so it is most appropriate for this type of instruments. However, Antonio Stradivari, Jorn. Instrum. Asoc. Instrum. (2013) (in Spanish).
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[6] D. Sinier, F. de Ridder, La Guitarre, vol. 1, Edizioni Il Salabue, Paris, 2007.
with very slight modifications to be proposed by makers of those [7] J. Westbrook, Investigative Methods for the Study of historic Guitars: A Case
instruments. The process followed for this proposal, namely vari- Study of the Work of Antonio de Torres, London Metropolitan University, 2009
ous makers sharing their experience and knowledge over a number (Master’s thesis).
[8] R. Bruné, Marcelo Barbero Guitars, Vintage Guitar Magazine, 1999.
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[9] R.B. Hoadley, Identifying Wood: Accurate Results With Simple Tools, Taunton
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