Making the Baroque Lute Triple Nut Extension

A lute with a triple nut extension offers the baroque musician several advantages. Firstly, the tonal
difference between the stopped strings and the longest open basses is less pronounced because the length
of the strings is increased by a smaller increment with the addition of the intermediate nut. There is also
the practical aspect that string diameters may be duplicated from one echelon of strings to the next.

The triple nut extension that Andreas Jauch made for this lute (Copenhagen, No. 104A) is designed
in such a way that the length of the strings, stopped by the second and third nuts, are in whole
number ratios relative to each other and to the fretted length.The original string lengths  are: 105, 93
and 78 cm. Thus, 105/93 is 9:8 which is a major second and 105/78 is 4:3 which is a perfect fourth.
These ratios are important for preserving harmonic relationships across the lute's compass. I wanted
to retain them in my lute.
 Earlier model is on top

I hadn't build this particular lute and extension before 

so I needed to design and make a template. I used a previous
model as a guide. Since the proportions between nuts were different you can see that I shank the
length of the first and second pegboxes. Since I was adding a fourteenth course I lengthened the third
pegbox. Also, I wanted a more delicate look. The top template is 24mm thick at the first peg
position. I reduced that to 20mm and diminished the remainder of the design accordingly. Because
of the nature of the forces with off-set strings it is very difficult to anticipate how much the structure
will bow up, twist side-ways, or otherwise move unpredictably, so there is always a concern for
strength.
I decided I could accommodate this risk, first by altering 
some features of the design and second by using a freer approach to executing the design rather than
following a template. I squared a block of poplar, laid out the template, band sawed the bottom
surface. Here I am proceeding to finish the cuts on the top surface by using a drill press to fashion
the tight contours in the design.

At this point I put the extension aside and cut the recess in the lute neck where the extension will sit
finishing it with chisel and files. The third object on the bench is a strip of thin metal that I use as a
guard to protect the adjacent wood surface when I'm working into a corner with the file. 

Once I'm finished with the joint I can check the alignment by clamping the extension to the neck.
The intermediate nut carries the 9th - 11th courses and the third nut carries the 12th - 14th. I mark
these string positions on the top of the nut arms. This procedure determines the way the two
pegboxes are off-set to the bass side. Now I can layout the side contours.
I saved the waste portions of the original block of poplar and glued the whole assembly together
with pieces of thin cardboard sandwiched in between the parts. Referring to photos of historical
triple nut extensions I drew the side contours on the top of the re-assembled block allowing for some
adjustment in  the final shaping. Then I band-sawed the design. I didn't have a photo of this stage but
the following photo and description explains the same process.
Here I have tack glued the extension in place and am carefully checking the alignment again. The
position of the 9th course as it crosses the nut is marked on the piece of painter's tape so I can run a
string from the 9th course on the bridge over the position mark and check the alignment on the
second nut. The part of the nut support to the treble side of the string is waste and will be cut off.
The treatment of that is one of the design elements that has to be worked out. As I mentioned earlier,
I had decided not to work from a predetermined plan but to allow the design to evolve.
This photo, while showing the alignment of the 11th course as it clears the intermediate nut, also
shows the initial shape of the treble side of the extension. I have yet to cut the final contours.

The first thing to notice in this photo is the way I off-set the intermediate and third pegboxes. The
bass side of the first pegbox is straight. The second is off-set with an edge that defines a "S" curve
with the nut support. The second pegbox snakes toward the bass and terminates with the "S" curve of
the  third pegbox.

To drill the peg holes I set the extension in a machinist's vise and supported the free end. The holes
in the first pegbox are drilled perpendicular to the center line of the neck.
The second pegbox leans toward the bass and the third pegbox slants back toward the treble, creating
a subtle crook. The holes in the third pegbox are drilled close to the perpendicular of its center line
and the holes in the intermediate pegbox nearly follow the crook.
I drill from both sides of the extension with the intention that the holes will line-up. That is
problematic, so I use a small drill bit. This allows some adjustment when enlarging the hole to peg
size later on. I took great care and fortunately all of the holes lined up.
I made several attempts to fashion an agreeable contour on the treble side. The weak spot on the
triple nut extension is at the end of the first pegbox where it narrows significantly and the torque
from the intermediate and third nuts exert their force. When I initially band-sawed the side contours
I left extra wood planning that I would need to experiment with the design. What I settled on is seen
here. The end of the first pegbox is rounded smoothly with the side of the nut support tapering away
gently. The pegbox ends in a slight crease, but then broadens out a little to begin the intermediate
pegbox. This arrangement leaves a fair amount of wood and thereby avoids a design weakness. The
intermediate pegbox thins only a little in width and depth and rounds quickly onto the flat surface of
the third pegbox.
Next time I'll excavate the peg recesses, finish the area around the joint with the neck and glue it on.

Previously, when I made triple nut or swan-neck extensions I used a drill press to remove the excess
material and then trued the edges and finished the bottom of the excavation with various chisels. Using
the drill press for this process makes me nervous. There is the risk of something slipping and ruining my
work and it is generally rough work. So this time I decided to do the entire procedure with chisels - one
pegbox per day.
I laid out the boundaries of the smallest cavity (you can see several reference lines) and proceeded to
partially  excavate a small area with various sizes of chisels. Working like this it becomes obvious how to
proceed: truing the edges, then deepening the recess, lengthening it a little and then truing again. I found
that the work went quickly and neatly.

Of course, this pegbox was the easiest to do. The middle one requires working under the over-hanging nut
support. It is made even more difficult because of the limited space for the six peg holes. The last hole for
this rank of strings goes far under the over-hang. Here I am using a "skew" chisel to reach the rear of the
recess. Note that I am using a waste portion of the original block as a support. Later, this cut-off along
with the others will go in the wood stove this winter.
The first pegbox is a little more complicated in that the treble side has several crooks and curves. I lay
these out with generous side cheeks which provide strength and stability. Here I am using a front bent
chisel to clear the bottom of the recess. I like to leave more than six millimeters of wood thickness  in the
bottom of this pegbox for strength. I can achieve this even with the relatively low profile of the pegbox by
drilling the holes off center and closer to the top edge by a millimeter and a half. Although I found this
work pleasing I still felt I needed some aesthetic gratification. I reamed out several peg holes in the
finished pegboxes and inserted temporary pegs to see what the final product would look like.
One feature of this design puts the chantrelle in its own recess. This allows the string a straight run over
the nut and into the pegbox cheek at an angle that is far less likely to break it. I drill a pilot hole and
enlarge and square the recess with small chisels.

This photo also demonstrates how I clamp any of the types of  extensions that I make. I tie two wound
bass string of the same size in the appropriate holes in the bridge at one end and on pegs in the pegbox.
When these strings are brought up to equal tension the extension is pulled back into the neck joint in
proper alignment. Two spring clamps hold it firmly against the bottom of the neck.

The back of the extension that over-laps the neck can then be contoured. Visible in this photo is the
skewed angle of the rear of the extension. I leave a little more room on the treble side for the player's
thumb to comfortably grasp the first fret position.

Next time I'll show photos of the finished lute and describe a surprising historical varnishing process.