Retired bass maker Fred Lyman has had articles published by the Guild in the ’70s, ’80s, ’90s, and now the ’00s. He’s a thirty-three-year GAL member and a Convention presenter. And he’s the champion of all Guild Benefit Auction donors, having donated hundreds of items beginning with our first auction in 1984. Fred passed away in 2012
▪ bio current as of 2009
2009
AL#98 p.34
Frederick C. Lyman Jr.
▪ There’s not a lot of detail to this piece, but there’s nice story telling and some philosophy to live by. Lyman has been involved in the bass world since before the GAL, and whatever he has to say about it is important (and usually fun). With 3 photos.
2008
AL#93 p.8
Frederick C. Lyman Jr.
▪ The legend of the Martin company wood scrap heap. It was a wonderful thing, says Fred.
2001
AL#66 p.3 read this article
Frederick C. Lyman Jr.
▪ Longtime GAL member Fred Lyman tells of the conversation that got Irving Sloane interested in making bass machines. Fred also gives a quick overview of his life in lutherie and wishes more lutherie info had been available to him in his youth.
1990
LT p.114
Steve Andersen Chris Brandt R.E. Brune Ted Davis Jeffrey R. Elliott James Flynn Bob Gleason Hideo Kamimoto Robert Lundberg Frederick C. Lyman Jr. John Monteleone Robert Ruck Richard Schneider Ervin Somogyi Al Stancel Robert Steinegger Janet Toon
▪ Seventeen established luthiers were asked to list ten hand tools, five power tools, and five supplies used as tools. This info was used to determine the most essential tools, including specifics, model and size, source, and any special uses.
1991
AL#25 p.14 BRB2 p.430
Frederick C. Lyman Jr.
▪ Lyman continues his crusade for a low-cost, high performance bass viol. Part 1 was printed in the previous issue.
1990
AL#24 p.30 BRB2 p.430
Frederick C. Lyman Jr.
▪ Lyman builds a bass with a lauan body and a top of quartersawn 2x4s, and is quite pleased with the outcome. There are only 2 photos, but a lot of text. Lyman’s conventional basses are in the hands of many well-known musicians. He certainly knows the difference between good and bad instruments. Part 2 follows in the next issue.
1990
AL#24 p.32 BRB2 p.430
Frederick C. Lyman Jr.
▪ This plan gives a half-scale drawing of the bass, plus a full-scale body outline.
1989
AL#18 p.36 read this article
Frederick C. Lyman Jr.
▪ Lyman not only comes up with a new instrument, but also writes the article as a lesson in problem solving as he worked toward an uncertain goal.
1989
AL#18 p.46 BRB2 p.248
Jonathon Peterson Frederick C. Lyman Jr.
▪ Lyman is an inveterate experimenter best known for his string basses, a regular American Lutherie contributor, and an interesting thinker.
1988
AL#16 p.50 BRB2 p.197
Frederick C. Lyman Jr.
▪ Lyman examines D’Addario Nylon Core Upright Bass Strings as well as Savarez “Corelli” strings.
1988
AL#14 p.50
Frederick C. Lyman Jr.
▪ Lyman forges ahead in his quest for a cheap but satisfying substitute for the traditional solid wood bass viol. This segment describes an experimental bass made of lauan plywood and 2×4 studs. The results leave him hopeful that he is on the right track.
1987
AL#10 p.60 BRB1 p.202 read this article
Frederick C. Lyman Jr.
▪ Lyman’s quest is to build an inexpensive but musically useful string bass. In this episode he tries to improve a Kay plywood bass. The results leave him ambivalent but hopeful.
1987
AL#9 p.39 BRB1 p.196 read this article
Frederick C. Lyman Jr.
▪ When an articulate violin-family maker discusses his craft he sounds much like a professional wine taster. Lyman is articulate. This segment of his series deals with plate tuning.
1986
AL#7 p.43 BRB1 p.196 read this article
Frederick C. Lyman Jr.
▪ Lyman offers another philosophical look at lutherie and acoustical physics.
1986
AL#6 p.19 BRB1 p.196 read this article
Frederick C. Lyman Jr.
▪ Lyman likens the physical properties of a stringed instrument to those of the earth’s atmosphere (our great spherical friend), and advises us that an understanding of science should underlay our intuitional sensitivities.
1986
AL#5 p.36 BRB1 p.184 read this article
Frederick C. Lyman Jr.
▪ Lyman compares different makes of strings for the bass viol.
1985
AL#4 p.48 BRB1 p.148 read this article
Frederick C. Lyman Jr.
▪ Lyman champions the use of common materials and low sophistication in the production of serviceable, affordable bass fiddles. Mentions Kay basses and the Richard Ennis design in AL#3.
1984
DS#273 BRB1 p.254 read this article
Frederick C. Lyman Jr.
▪ Lyman created a shipping crate for the bass viol that will take abuse without damaging the bass, which is suspended in the crate without touching any of the walls. With 5 good drawings of crate details. It’s not lutherie, but it might save your instrument.
1983
GALQ Vol.11#2 p.24
Frederick C. Lyman Jr.
▪ The violin is a historical entity, an object of a very special and esoteric scholarship, an artifact with extremely subtle and critically variable properties.
1983
GALQ Vol.11#4 p.20 read this article
Frederick C. Lyman Jr.
▪ Gary Karr’s great achievement: performing a solo classical concert on the double bass.
1983
DS#257 BRB2 p.450
Frederick C. Lyman Jr.
▪ The rude construction of many basses prevents them from being as subtle an instrument as a violin, but they have their own setup requirements that may not be obvious to the uninitiated. Lyman shares his years of experience with bass creation and repair to help us get the most from any bass, however crudely fashioned or maintained.
1983
DS#252 LT p.3
Frederick C. Lyman Jr.
▪ Lyman was the GAL’s bass guru for years.
This article has been nominated as one of the Guild’s best articles published before 2010.
1982
GALQ Vol.10#3 p.16 BRB2 p.158
Frederick C. Lyman Jr. Victor Gardener
▪ Gardener was an independent sort from Oregon who built closely in the style of the violins of the classic period in Italy. Mentions Hans Weishaar. With 2 photos.
1982
DS#206 LT p.30
Frederick C. Lyman Jr.
▪ Electric chainsaw, cheap block plane, and Japanese saw rasp.
1980
GALQ Vol.8#1 p.36 read this article
Frederick C. Lyman Jr.
▪ A new instrument which fills the gap between the bass and the cello and which can be used in the melodic register but with the tonal density of the bass, rather than cello.
1980
GALQ Vol.8#4 p.8 BRB2 p.52
Frederick C. Lyman Jr.
▪ Lyman has made basses for several contemporary bass luminaries and has decided that they need qualities in the bass that weren’t called for in the past. He offers specific ways to match a bass to the requirements of the player. With one photo of the author.