Posted on January 19, 2010September 15, 2025 by Dale Phillips Questions: Freezing Hide Glue Questions: Freezing Hide Glue by Frank Ford Originally published in American Lutherie #79, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Peter from cyberspace asks: At one of the discussion groups on-line I read about making a batch of hide glue, freezing it in ice cube trays, then microwaving it to thaw each cube as needed. Doesn’t freezing it change the texture, and therefore how well it will work? Likewise, doesn’t microwaving it change it molecularly? Has anybody done any testing? Frank Ford of Palo Alto, California responds: It’s long been standard procedure to mix up hide glue and keep it in the refrigerator for future use, but I don’t know anyone who freezes it routinely. For general interest I recently froze a batch and I saw no difference in its working properties once it was melted in the microwave. But I won’t be likely to freeze glue in the future as it’s more difficult to judge its progress as it melts. Sure, it does mold over with time because it’s food, but it lasts a couple of weeks and I’m happy with that. I have been microwaving hide glue as my only method of heating it for about fifteen years. It’s a good way to avoid the mess of a glue pot. By heating the glue just before use, there’s no chance to overcook it and reduce the molecular strength as I might if I left it day after day in a glue pot. I just heat 1/2 oz. of glue in a “portion cup” (the kind that hot sauce comes in at the local taco stand) until it melts. Then, I float the cup in a regular coffee cup filled with boiling water to carry over to my bench for use. After I use the glue, I toss the excess. The “experts” I’ve talked to agree that my method is the most conservative and the most unlikely to result in degradation of the glue. We’re taught to keep the temperature under 150°F, but it’s clear from the literature that the temperature is far less significant if the time under heat is reduced. And I do get great results with my hide glue! ◆
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: 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.
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Digital Photography Questions: Digital Photography by Byron Will, and R.M. Mottola Originally published in American Lutherie #81, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 James from Cincinnati, Ohio asks: I’m switching from film to digital photography. I’d like to take photos to send to clients during construction and post on my website. I’d also like to take really good studio shots for my portfolio. I know this can’t be answered comprehensively in the Questions column. Right now I’m looking for tips and/or directions to pursue. Byron Will of Portland, Oregon answers: My experience taking photos of my harpsichords and other instruments and teaching digital photography at the community college here might be of use. You don’t mention if you’ve already purchased your digital camera. If not, I recommend you check out these websites that I’ve found very helpful for determining what to buy: www.dpreview.com and www.steves-digicams.com. Bear in mind that the quality of the optics is as important as the number of megapixels. 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.
