Posted on January 19, 2010September 9, 2025 by Dale Phillips Questions: Violin Ribs Questions: Violin Ribs by Randy DeBey Originally published in American Lutherie #70, 2002 and Big Red Book of American Lutherie Volume Six, 2013 David K. Kyle of cyberspace asks: I came across a violin made by the JCV Company where the ribs are one continuous piece, and there are no corner or end blocks. The ribs are shaped as if there are corner blocks. It is a little thicker at the end to hold the end pin, the two ends of the ribs are joined to the heel by grooves. The heel protrudes into the body to accommodate the grooves. Is this an unusual method for making a violin? Randy DeBey of Portland, Oregon responds: There was a short discussion of this type of construction in a violin maker’s e-mail discussion group last fall. Apparently, this method was common in Saxony until the mid-1800s and can still be found today in remote places of Finland and Eastern Europe. Not long after the discussion, a violin of this type was brought to me for repair. It had a bottom block and thin wood plates across the insides of the corners to disguise its lack of corner blocks. The base of the neck extended into the top of the body and the upper ribs were wedged into grooves on the sides of the neck base. It was not a well-made fiddle, more of a curiosity. ◆
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Toxicity of Odorless Superglue Questions: Toxicity of Odorless Superglue by Bill Hunter Originally published in American Lutherie #82, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 Ralph from Austin, Texas asks: I recently read on a luthier e-mail list about a guy using odorless cyanoacrylate glue for filler. The brand he uses is by Satellite City, maker of Hot Stuff™ and UFO™, which stands for “user-friendly odorless.” I know from experience that vapors from CA glue are not friendly to the eyes or to the respiratory system. My question is: if it has no scent and you don’t have any skin exposure, does this mean it’s rendered totally nontoxic or nonirritating? The bigger question is: how are products made odorless? Are there just blocking agents so that we are unable to detect them, but they’re still there, and therefore still irritating or toxic? Bill Hunter of Simi Valley, California, cofounder of Satellite City, answers: “Toxic,” in general implies a lasting or long-term harmful effect. Cyanoacrylate adhesives are not toxic except to those who are allergic to them. The same could be said of milk, peanuts, and grains. “Irritating” is comparable to the feeling one gets in the eyes and nose when dicing onions. The scent is not what irritates the eyes, nose, and throat, it’s the fumes. And, of course, if the fumes are masked, a product can give the unrealistic impression that there will be no irritation. In fact, the scent of many chemicals is a good gauge by which to judge exposure. If, on the other hand, there is no scent because there are no fumes, you have the best possible working conditions. Hot Stuff “UFO” instant adhesives have been relied on by folks who have allergic reactions to typical cyanoacrylates since 1988. Many of these people can’t be in the same room where an instant glue is being used without a violent reaction. No problem with “UFO.” It’s the only CA they can use. Regarding skin exposure: Skin exposure, even for typical cyanoacrylates, is not a consideration for 99.99% of users, and in thirty-five years, I have never, ever heard of anyone being bothered in any way by skin exposure to “UFO.” Note: Mr. Hunter also sent me the MSDS on CA glues, which didn’t help me understand. I tried to follow-up Mr. Hunter’s answer and he repeated the above information. I’d like to hear from some of you with sensitivities to the regular stuff and perhaps others who understand the chemical lingo. A product so seemingly integral and essential to modern lutherie certainly deserves a little scrutiny.
Posted on January 19, 2010September 9, 2025 by Dale Phillips Questions: Brushing Varnish Questions: Brushing Varnish by Wade Lowe Originally published in American Lutherie #70, 2002 and Big Red Book of American Lutherie Volume Six, 2013 Ray Thompson of Kennett Square, Pennsylvania asks: What would you recommend for a good brushing varnish, either oil-based or spirit-based for guitar? Or do you know of recent written material on this? I have tried Behlen’s 4-Hour Rubbing Varnish. It did not seem to dry hard enough on test pieces. I tried the French polish (shellac) but now I’d like to try a brushing varnish for its ease of application as compared to spraying or French polishing. I have thought of trying to brush shellac. I read that if you do very thin 10% coats it can work. Then just fad level and spirit it off after build up. But that might be as tricky as French polish. I want a finish I can brush on, let dry a prescribed amount of time, steel wool it back; and repeat as necessary. 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 13, 2010May 26, 2025 by Dale Phillips It Worked for Me: Violin Shipping Tips It Worked for Me: Violin Shipping Tips by Keith Davis Originally published in American Lutherie #48, 1996 Helpful hints for shipping a violin: ▶ Place a foam rubber or tissue paper filler under the end of the fingerboard. This should be just snug, not too tight. ▶ Place a similar pad under the end of the tailpiece nearest the bridge. ▶ Using additional foam rubber or tissue, make a pad that will fill the space between the bridge and the end of the fingerboard, and a similar one that will fit between the bridge and the tailpiece and put them in place. ▶ With the padding in place, lower the string tension slightly, the equivalent of about one full tone. The strings should touch the pads. ▶ If a polyethylene violin bag is available, put the violin into it prior to putting it in the case to help protect the instrument from humidity changes during transit. ▶ Place additional foam rubber pads between the case and the ribs of the violin to prevent it from knocking around in the case. Make sure that the neck of the violin is supported and that the bow(s), if any, are well secured. ▶ Close the case carefully after including any necessary documents. Pick up the case in both hands and shake it gently, then with more vigor, listening to see if the violin is well secured. If not, back up and add more padding. ▶ Pack the case in an appropriate corrugated cardboard box. Padding between the case and the box is essential and may consist of crumpled paper in great quantity, foam peanuts, foam rubber. ▶ Whenever possible, ship violins on Mondays or Tuesdays, and rare or valuable instruments via 2nd Day Air. This will prevent long layovers in unheated warehouses. Please Note: People receiving violins in terribly cold weather should exercise caution in unpacking them. The instrument, box and all should be allowed to come to room temperature before opening. Frozen violins, shocked by instant exposure to warm air, can turn into 72-piece violin kits. Take your time and do a nice job. Using these methods we at Davis Instrument Service have never suffered a shipping loss. ◆
Posted on January 13, 2010May 20, 2025 by Dale Phillips Letter: Erikson Letter AL#7 Letter: Erikson Letter AL#7 by George Manno Originally published in American Lutherie #8, 1986 Dear Tim: In response to Mr. Erikson’s letter, published in American Lutherie #7, I’d like to say that just because violin makers focus their talents on one art form, it shouldn’t and doesn't make me feel above any of my fellow lodge brothers or sisters who practice their talents in another form. I felt Mr. Erikson was trying to impy just that when he referred to violin makers as “a special breed.” I also disagree with his statement that the American Federation of Violin and Bow Makers lacks unity. Although I am not a member of this federation, I have spoken to its president and secretary on many occasions. Unity within the federation is stressed at all times. The question of work ethics, which I raised in the article entitled “Honesty” (American Lutherie #5), is only a small part of a bigger concern that many violin makers face. In many ways, the G.A.L., with its publication, has helped bridge the gaps that arise due to the lack of information being published by and for violin makers. Tim, I applaud your efforts. American Lutherie #7 was one of the best violin-related issues ever. If you are an amateur maker or a professional maker or repairman/woman who would like to start a new guild for violin and bow makers, with the sole purpose of sharing more information on making, repair techniques, and instrument identification, please contact me. I’d be willing to start some sort of newsletter to help get it off the ground. This does not mean that I am leaving the G.A.L. Sounds great! The GAL loves lutherie info sharing in any form. Also, American Lutherie has good violin stuff in the can for upcoming issues. Thanks to members like you, George, our violin family coverage has improved noticeably. -Tim
