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Questions: Liquid Hide and White Glue

Questions: Liquid Hide and White Glue

by Dale Zimmerman

Originally published in American Lutherie #101, 2010



JM from the Internet asks:

Both liquid hide glue and white glue are reviled by a lot of luthiers, but I suspect that a lot of highly regarded instruments were made using these glues, since these were widely used before yellow glue was invented. This makes me want to take a more objective look at these glues. Does anyone have a comprehensive comparison of the qualities of these glues and also of hot hide glue and yellow glue?


Dale Zimmerman from Franklin International in Columbus, Ohio responds:

As JM suggested, there are clearly differences between the various types of glue, and luthiers have learned to especially appreciate the characteristics of hot hide glue and yellow glue and feel less comfortable with liquid hide glue and white glue. With that in mind, it might be good to start with the fact that there is almost no difference in strength between the various categories of products.

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Letter: Natural Shell Material Clearance

Letter: Natural Shell Material Clearance

by Chuck Erikson

Originally published in American Lutherie #100, 2009

 

Dear G.A.L. staff and members:

A great big howdy and a coupla doodies to ya! We’ve been getting increasingly numerous complaints from luthiers that instruments containing any type of natural shell material are being challenged by Customs agents at the U.S. border, causing delays in delivery, generating extra fees and paperwork, and incurring the risk of impoundment or even confiscation. All of this can be easily avoided if care is taken to include proper details on the customs forms (not only about shell but also bone, fossil ivories, and woods).

As the major supplier of all things nacreous, we can assure everyone that none of the shells offered are controlled, banned, endangered, listed, or protected and they’re all openly brought in under our U.S. Fish & Wildlife Import/Export Permit. But just because they’re “animal products,” F&W bureaucrats can cause unnecessary hassles and raise funding through various charges such as so-called “inspection” fees (even though any given package may not even be opened and nothing get actually inspected). A few years ago, during a private conversation with a F&W customs agent, he claimed huge numbers of these bogus “fees” were initiated in many government agencies during the Clinton administration as a behind-the-scenes method of increasing revenue while at the same time being able to announce publicly that taxes were not being raised; already understaffed, overworked, and underfunded, he indicated F&W employees were not at all happy with the added burden of now becoming unwilling “tax collectors” for the government!

Our website (www.dukeofpearl.com) has full info about each shell species including common and Latin names and country of origin. On customs export forms it helps to mention that the shell is from a commercial fishery. If subsequently questioned, it can also speed things up if you then supply a copy of a sales receipt from whoever sold you the shell. But don’t include this with the instrument’s original paperwork; as with the IRS, never volunteer more than the necessary minimum of information when dealing with any government agency. Also, don’t bother protesting any customs charges. Just pay the extortion money and hope you drop off their radar the next time through. Complaining will only generate an official “file” on you, the last thing you want!

If you’re still having difficulty getting clearance, have the agent contact us and we’ll supply a valid license number and any other information they might want (such as country of manufacture).

Keep on luthing!

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Questions: Guitar Stand

Questions: Guitar Stand

by Cyndy Burton

Originally published in American Lutherie #67, 2001

 

Doug Lancaster from cyberspace asks:

I’ve been working on the design of a high-end classical guitar stand and have begun to think about marketing it to dealers of classical guitars. Any suggestions?


Editor responds:
Yes, a quick look through Soundboard magazine (www.guitarfoundation.org), Guitar Review (www.guitarreview.com), and Acoustic Guitar magazine (www.acousticguitar.com), will reveal an unprecedented abundance of dealers. The websites are very handy places to get a feel for the relative values of instruments, too. Here’s a list which is by no means totally inclusive: (By the way, all the websites mentioned in this column are available as links at the GAL page.)

Richard Bruné (Evanston, IL)
www.rebrune.com

Classic Guitars International (Los Angeles, CA area)
www.classicguitar.com

GSP (Guitar Solo, San Francisco, CA)
www.gspguitar.com

Guitar Salon International (Santa Monica, CA)
www.guitarsalon.com

The Guitar Salon (Beverly Maher, NY, NY)
www.theguitarsalon.com

Guitars International (Armin Kelly, Cleveland, OH)
www.guitars-int.com

Handpicked Guitars (Rik Jonna, Detroit, MI area)
www.handpickedguitars.com

Kirkpatrick Studio (Baltimore, MD)
www.kirkpatrickguitar.com

Pioneer Music (Portland, OR)
www.pioneermusicco.com

Rare and Fine Guitars (Bruce Banister, Jefferson, IA)
www.classicalguitarnet.com

Jerry Roberts Guitars (Nashville, TN)
www.lamancha.com

Rosewood Guitar (Seattle, WA)
www.halcyon.com/rosewood

Santa Fe Guitar Works (Santa Fe, NM)
http://santafeguitar.com

Trilogy Guitars (John Silva, Los Angeles, CA)
www.trilogyguitars.com

Dan Zeff Guitars (Los Angeles, CA)
www.dzguitars.com

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Letter: Note to Future Repairers of His Instruments

Letter: Note to Future Repairers of His Instruments

by Bob Gleason

Originally published in American Lutherie #101, 2010



Tim —

For the past thirty-eight years I’ve been repairing stringed instruments and building a few along the way, too. Occasionally, I’ve run into difficult repair situations. Some natural, like the freak wind gust through the window that blew a Martin 000-41 body off my bench, which resulted in my introduction to doing abalone purfling work. Some man-made, like the first Taylor guitar that was brought to me for a neck reset. No one told me there was a bolt under that label on the neck block. I’d never seen a solid wood guitar with a bolt-on neck. I thought bolts were for banjos! I steamed away like mad on that neck until I managed to break the heel off and discovered the bolt. Any experienced repairperson has a few interesting stories to tell.

Today things are getting worse, from a repair point of view. We have bolts, screws, epoxy, superglue, many kinds of white and yellow glues, gorilla glue, synthetic materials used throughout, water base finishes, quite a few concoctions of oil finishes, truss rods of all kinds, myriad electronics, woods from all parts of the planet, real shell, fake shell, semi-fake shell, photo finishes, stainless fretwire, laminated wood that looks like solid wood, instruments that are constructed with materials that were previously only found in the sink cut-out dumpster of the local cabinet shop, real bone, fake bone, and all sorts of other animal parts to name a few. Repair work is getting a little tougher these days!

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Questions: Spraying Lacquer in Garage

Questions: Spraying Lacquer in Garage

by Jeff Jewitt

Originally published in American Lutherie #101, 2010



MR in Portland, Oregon asks:

Anyone have suggestions for spraying lacquer in a small one-car garage? Do you really need an explosion-proof fan? I do have an unfinished bathroom in my basement, and it has a cheap exhaust fan.


Jeff Jewitt from Homestead Finishing Products in Cleveland, Ohio responds:

I definitely suggest a garage over a basement for spraying solvent lacquer. A basement is very hard to exhaust properly and most basements don’t have a large enough window for the fan necessary for flammable products. In addition, the residual odor from lacquer will be more noticeable in a basement than a garage.

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