Posted on April 9, 2026April 9, 2026 by Dale Phillips About Alcohols Used as Solvents in French Polishing About Alcohols Used as Solvents in French Polishing by R.M. Mottola Originally published in American Lutherie #105, 2011 Most any kind of pure or nearly pure simple alcohol can be used as a solvent for shellac, because shellac will dissolve completely in any of them. But the choice of what kind of alcohol to use gets complicated pretty fast when issues of application, availability, price, and safety are considered. The two most common choices for shellac solvents for use in French polishing are ethanol and denatured alcohol, which is nominally ethanol to which some poisonous substance(s) has been added to make it undrinkable. Both of these are discussed here in terms of all of the qualities listed above. The research behind this article is one of those good examples of one thing leading to another. We were discussing the general availability of ethanol around the American Lutherie cyber water cooler one day, and this led to the realization that both Contributing Editor Cyndy Burton and I suffered from burning eyes when we have used denatured alcohol. This seemed odd, given the generally accepted belief of what is used to denature alcohol (methanol) and how little of it (5%) we believe there is in the mix. This in turn led to a detailed look at denatured alcohols, in terms of chemistry and safety, and this turned up information which I thought fascinating enough to share. 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 March 3, 2026March 3, 2026 by Dale Phillips Meet the Maker: Ralph Novak Meet the Maker: Ralph Novak by John Calkin Originally published in American Lutherie #70, 2002 and Big Red Book of American Lutherie, Volume Six, 2013 There aren’t a lot of questions in this interview. Ralph’s mind is organized. I made the appointment to interview him during the 2001 GAL Convention, and when the appointed time rolled around his story poured out almost as if he were reading it — an interviewer’s dream. I’ll bet he’s always been that way. We should all be so lucky. The interview was later updated to late April 2002. How were you introduced to music and lutherie? I started with piano lessons in the third grade, and started playing guitar when I was fourteen. By the time I was fifteen I began modifying and customizing my guitars. My dad was helpful in that. He didn’t know anything about instruments, but he was an excellent woodworker, and even when I was a child he made his shop available to me. He’d show me his projects, maybe let me sand something, and answer any questions I came up with about the shop and the work. The shop was never locked up. I’d go down there and do stuff. 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 February 20, 2026February 20, 2026 by Dale Phillips Torres Guitar Restoration Torres Guitar Restoration by R.E. Bruné Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie, Volume Three, 2004 In March of 1986 I received in my workshop an 11-string guitar by Antonio Torres made in Almeria in 1884, and numbered #71. This instrument being perhaps unique in the world today for Torres’ work, it was imperative that it be adequately documented and ideally, restored as close as possible to original playing condition. The owner was quite anxious to pursue this course also, with the ultimate goal of selling it on the open market. Surviving guitars by Torres are quite rare, being limited to fewer than seventy known instruments, and this example is perhaps the only 11-string example remaining, although Prat alludes to two others in his Diccionario under the listing for Torres. It is not clear whether he is referring to the same instrument owned by several different people or different instruments owned by different people. Although Torres numbered his instruments made from 1880 until he died in 1892, apparently there is no surviving record of the details of each instrument nor who the original owners were. (Editor’s Note: After this article was written, José Romanillos published his excellent book, Antonio de Torres, Guitar Maker — His Life and Work. In it he presents photos, drawings, and descriptions of another surviving Torres 11-string, #83. Author Bruné urges all to acquire and study this book.) Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on February 20, 2026February 20, 2026 by Dale Phillips Meet the Maker: David King Meet the Maker: David King by Jonathon Peterson Originally published in American Lutherie #85, 2006 David King and I have been rubbing shoulders at instrument shows for years, and I have always been a big fan of his work, but the bass he had at the last Portland Handmade Musical Instrument Exhibit was stunning. Elegant and balanced, with a flawless finish, custom hardware, active EMG pickups, an onboard tuner, and every ounce accounted for — I just had to talk with him about his lutherie life and how he made these beauties. Was it instruments first, or was it music? It was music first. There were four kids and two adults in my family, and everyone played an instrument. My dad was a political science professor at U. Mass. in Amherst; he played the piano. My eldest sister played clarinet and my next sister played viola and sang. My brother was a cellist. Eventually my dad picked up the viola, too. I started violin at age seven and carried it on until I hit college, at around twenty. Then I realized that the sound of that thing right under your ear — I think little kids can take that noise better than adults can, but I was never going to be a great violinist. (laughs) You have to draw the line. I’d always listened to classical music, and it never occurred to me that there was pop music out there, or anything else that could be taken seriously. 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 20, 2026February 23, 2026 by Dale Phillips Questions: Crystalac Questions: Crystalac by Eric Aceto and Alex Meleshenko Originally published in American Lutherie #59, 1999 Paul Sheridan of Bassendean, Australia asks: Do you know anyone who is using Crystalac™ and is really happy with it? I have built up an allergy to the “low toxic” lacquer I am currently using and will probably have to change to a water-base lacquer. Eric Aceto of Ithaca, NY responds: I started using water-base finishes around 1988 or so when I noticed that even opening a can of nitrocellulose gave me a sore throat. Guess I built up a sensitivity over the years. The current finishes are far superior to what they were back then and I do not hesitate to use the newer formulas on our guitars. I am currently using the Crystalac™ put out by Stew-Mac. It’s a good finish and it is a breeze to apply and touch up. I do prefer to keep it thin and I do not usually put on more than six coats. It is a good hard formula with excellent clarity and color. It is easy to tint, although the color of the finish in the jar is not exactly what you end up with. I guess this is due to the slight milky look of the wet finish. Spray technique is pretty much the same once you get the hang of the viscosity. The ultimate in low toxicity would be to use this with an HVLP system. I would encourage anyone frustrated with the usual lacquer to try this finish, clean their equipment using soap and water, and then see if they want to go back. I never will. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
