Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Finish For Cocobolo Questions: Finish For Cocobolo by John McCarthy Originally published in American Lutherie #78, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Paul Dernbach of Naples, Florida asks: What is the best way to finish cocobolo? The varnish I tried on it isn’t dry after three weeks. It dried fine on my purpleheart sample. John McCarthy of Murfreesboro, Tennessee responds: The oils in cocobolo rarely dry well enough to use a gum-based varnish. I have had success with French polish (shellac) as a method for sealing prior to using any other finish. Shellac is unaffected by the oils in cocobolo. Build a thin layer of finish that doesn’t add much to the final coats. If you want to continue with the French polish, you will get good results and a very well-developed muscular arm at the same time. I tend to use shellac to seal then apply nitrocellulose lacquer over it. I like the results of French polish, but it is very time consuming and a bit difficult to match and repair if using other than as a base. I like the ease of a good nitrocellulose with a plasticizer which reduces the tendency of the finish to crack. I use an HVLP system to minimize overspray. I prefer Mohawk stringed instrument lacquer.
Posted on January 19, 2010September 9, 2025 by Dale Phillips Questions: Glued Vs Floating Bridge Questions: Glued Vs Floating Bridge by R.M. Mottola Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Greg Pacetti of Fairbanks, Alaska asks: Why is it that most all flattop guitars have a glued-on bridge rather than a floating variety, as in the archtop guitar. I know that historically many have been produced this way, but the standard is still towards the fixed, glued-on bridge. I build a particular model in this configuration with good results. R.M. Mottola of Newtonville, Massachusetts answers: The short answer, to borrow a phrase from Fiddler on the Roof, is tradition. We like, or at least we have become accustomed to, the tone of instruments with glued-on bridges. The long answer (at least my long answer) is, well, longer, and much more speculative. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on January 19, 2010September 11, 2025 by Dale Phillips It Worked for Me: Hardanger Fiddle Pegs It Worked for Me: Hardanger Fiddle Pegs by David Golber Originally published in American Lutherie #83, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 I do a lot of work on Hardanger fiddles. One way in which these instruments differ from violins is the pegs. In the violin world, pegs are disposable. When they wear out, you replace them and throw away the old ones. But in a fine Hardanger fiddle, the pegs are decorated work of the maker of the instrument, and must not be thrown away. But what do you do when the old decorated pegs are severely worn? There must be other instruments and circumstances with similar problems, so maybe the question is interesting to more than the tiny circle of Hardanger fiddle aficionados. Here’s one method for putting new ebony shafts on old decorated pegs. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Clark Harp Value Questions: Clark Harp Value by Howard Bryan Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Keith Davis of Iron River, Michigan asks: I have in my shop an old Clark harp, SN 2102. The owner wishes to know more about its value. The headblock has been reglued, and there are a number of small, inconsequential cracks in the soundboard, but it is otherwise in great shape and has its original stand. Howard Bryan of Lynchburg, Virginia answers: Clark Irish harps are cute, and they certainly filled a void when they were being built. They also had some neat design features, like the little collapsible stool that became an integral part of the instrument when needed. That said, there are far better harps being made today. The main problem with the Clarks is the sharping blades, which are not adjustable. With a new soundboard, intonation isn’t too bad, but as the harp matures the string lengths change and the blades are no longer in quite the correct place, so the harp plays out of tune with blades engaged. I recommend that active musicians buy a more modern instrument from one of the better makers, as opposed to spending big bucks reconditioning a Clark, but emotions are often a factor and we have repaired/restored several in the last couple of years. Typically most need the knee block and pillar/neck joint reglued. Since the original joints were doweled, it is usually a trick to get them completely apart. Many need new soundboards, which is an expensive repair. The originals were fine, but most are becoming unglued and many have split. They seem to sell for around $3000 if in really good shape, less if they need work. A Clark Irish needing neck/kneeblock/soundboard repairs can usually be had for under $500, but the cost of repairs needs to be added to the purchase price.
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Adjustable Truss Rods Questions: Adjustable Truss Rods by John Calkin Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 Steven D’Antonio of Bellingham, Massachusetts asks: I have been using the Hot Rod 2-way Adjustable Truss Rods made by Stewart MacDonald for several years with good results. I have been placing them dead center in the neck without any problems that I am aware of. But recently I read something by John Calkin in AL stating that since the treble strings are under more tension than the bass, some luthiers offset their truss rods toward the treble to compensate for the imbalance in tensions. I asked Stew-Mac and also LMII for their advice, and they both suggested dead center placement for the truss rod. If you suggest offsetting towards the treble, how much is enough? John Calkin of Greenville, Virginia answers: It’s pretty common to find that when the neck of a guitar with some age on it is adjusted, the treble side still has a slight bow after the bass side of the fingerboard is flat. Pulling out the bow on the treble side will often fret out some of the bass notes nearest the nut. Usually this is a minor affair, but occasionally the only fix is some fret filing or even a refret after the fretboard has been trued. I tend to think of this as an electric guitar problem, but that may only be because electric guitarists are more obsessive about having the lowest possible action. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
