Posted on August 11, 2021May 9, 2025 by Dale Phillips “1704” Varnish Recipe “1704” Varnish Recipe by George Manno Originally published in American Lutherie #12, 1987 and Big Red Book of American Lutherie Volume One, 2000 The subject of violin varnish and its making has been the topic of great debate and secrecy for the last hundred years. Many makers still spend a great deal of time chasing the elusive dream of coming up with the perfect varnish. Books and manuscripts are filled with endless recipes from the very basic to the most absurd. I have seen some formulas that call for ingredients such as goat urine, sheep bile, gold, and other even more exotic organic extracts that have to be boiled, dried, and then mixed with many different hazardous chemicals. I showed Dr. James Martin, head chemist for Bradshaw and Praeger Shellac Co., one of these more eccentric recipes. His reply to me was, “If you heat these chemicals, you will probably blow your shop to smithereens.” Needless to say, I took his advice. The varnish recipe described on the preceding page is known throughout the world as “1704”. The recipe came out of the old Wurlitzer shop in the early ’50s. As you can see, the varnish is a simple mixture of seedlac, gum, resin, and oil mixed with alcohol. 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 June 22, 2020May 22, 2025 by Dale Phillips Brazilian Guitar Makers Brazilian Guitarmakers by Roberto Gomes Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie Volume Three, 2004 The guitar has been the main musical instrument in Brazil since it was brought by the Portuguese colonizers centuries ago. In those times, Baroque guitars were the most common string instruments. They had five courses of gut or wire strings. Since then it hasn’t changed much, as we can see in the “Brazilian viola” which is used for a kind of Brazilian country music called musica sertaneja (countryside music). The shape of the soundbox of this viola today resembles more a small classic guitar. Unfortunately there are very few records of those times, making it difficult to make a better study of those guitars and their makers. It’s known that most of the instruments were made in Portugal, Italy, and France. The first decade of this century brought three immigrant families from Italy: the Gianninis, the DiGiorgios, and the DelVecchios. These families were luthiers in their country of origin and later they founded the main Brazilian guitar factories which became the backbone of Brazilian-made guitars for nearly eighty years. They made mostly classic guitars and some violins, along with Brazilian violas. They also made mandolins, first with vaulted backs like lutes and later with flat backs, which are used to play choro music. 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 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 5, 2010May 23, 2025 by Dale Phillips Review: French Polishing for Guitarmakers 2.0 by Dr. Ronald Louis Fernández Review: French Polishing for Guitarmakers 2.0 by Dr. Ronald Louis Fernández Reviewed by Tom Harper Originally published in American Lutherie #97, 2009 French Polishing for Guitarmakers 2.0 Dr. Ronald Louis Fernández DVD 2005 53 minutes NTSC $49.95 Ron Fernández is a smart guy with an interesting set of life experiences, a number of which provide ample background to present the material found in this tutorial. His academic studies have provided significant experiences with research, teaching, and contact with Spanish and Portuguese cultures. The thesis for his doctorate in cultural anthropology examined the interaction of Spanish and Portuguese immigrants living in the Quebec area of Canada. While doing his research, he was also a sought-out guitar player for various events within these communities. Contact with the guitar world began earlier than his doctoral research, however. His father, who was Spanish, had an import/export business that sold goods in Spain. One of the tricks for this business was getting money made in Spain out of it. The Franco regime allowed foreigners to spend money but not take Spanish money out. Fernández senior solved this by buying Spanish goods with the profits and importing them into the United States. These goods included guitars which gave Ron, who traveled with his father, direct contact with some great builders such as Manuel Rodríguez and the builders at the José Ramírez firm. His father’s business was even supplying western red cedar to Ramírez for a period of time. Several of these business relationships turned into friendships, which allowed Ron to see firsthand the building and finishing of fine instruments. The techniques he demonstrates on the DVD are a record of Ron’s observations and discussions with the builders he has visited in addition to his personal experiences with French polishing. 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.
