Share:

GLUE  

  RSS

syntholabo
(@syntholabo)
Adept
Rep Points:136
Hero:93
Joined:9 months ago
Posts: 56
15/05/2019 6:12 pm  

There are a range of opinions about the importance of glue choice in luthiery.

Speaking to violin makers, they are adamant about using hide glue. I understand that it affords for easier dismantling in the future, but their attitude towards it's overall quality is quite persuasive.

Does anyone feel any parts of an acoustic guitar should not be hide-glued? 

 

 


darrenking
(@darrenking)
Semi Professional
Rep Points:284
Hero:293
Joined:9 months ago
Posts: 109
21/05/2019 12:11 am  

Whilst I get all of the ‘easier to take apart again’ stuff, I have owned guitars for nearly 40 years and have never needed to have any of them significantly taken apart for repair. I think an equally valid question should be ‘if makers of old had access to UF resins, Titebond and West System epoxy, would they still have been boiling up rabbit skins and dissolving isinglass in alcohol?’ My instinct says not.

Were instruments built 100, 200, 300 years ago more likely to need major repair because they had been stuck together with animal glues?

Specifically regarding the use of animal glues for guitars, I think the size of the instrument compared with a violin makes this is a less practical option. When bonding a back or soundboard you may have around three times the perimeter to apply glue and clamps to and the much shorter open time of hide glue is going to make this wrong side of exciting to my mind. I’m not saying it’s impossible, I’d just rather not add to my stress levels during this process.

Thoughts anyone?

Darren


ReplyReplyQuote
syntholabo
(@syntholabo)
Adept
Rep Points:136
Hero:93
Joined:9 months ago
Posts: 56
22/05/2019 2:50 pm  

Thanks Darren.

Seems like a great analysis. However, a doublebass is even more massive!

Go Titebond then!


ReplyReplyQuote
mark bailey
(@markbailey)
Guitar Making God
Hero:9999486
Joined:1 year ago
Posts: 241
22/05/2019 3:52 pm  

Lets not get too stuck up in this...  ? 

I use:

  • Titebond - most jobs
  • White glue - anything that might need disassembled in future (acoustic guitars Neck and Bridge)
  • Epoxy - Oily woods like Cocobolo - inlays
  • Superglue - All sorts of stuff including filling under fret ends and minor repairs

FYI: I once counted 7 different types of superglue product in my cupboard:

  • Thick
  • Med
  • Thin
  • Black
  • White
  • Amber
  • Accelerator
  • Not including the fine nozzles and applicator tubes...

‘if makers of old had access to UF resins, Titebond and West System epoxy, would they still have been boiling up rabbit skins and dissolving isinglass in alcohol?’

No. I agree they would be doing what we are doing...AND they would have CNC's... ? 

Would Stradivarius have used a CNC? I think so...

To answer your original Q Ed :

Does anyone feel any parts of an acoustic guitar should not be hide-glued?

Yes my vegetarian partner Carol feels very strongly about that  ? 

It is different for Violin Makers as they do periodically have to dismantle instruments for various reasons. You certainly would want to use original materials on a precious old thing. (like Carol ? )

For us guitar makers - we very rarely have to take instruments apart. But one day every acoustic guitar will need a neck reset and possibly a replacement bridge. Thus white glue for those jobs.

Over time all acoustic guitars will change shape due to the tension of the strings - usually, inevitably raising the action. The higher action then adds to the stress and the process accelerates until the guitar becomes unplayable. This happens whatever glue is used so it is very handy to have the option of easy removal that white glue gives us.

10 Hero points for anyone who can use the word adhesive in a joke (and I laugh..other rules may apply)... ? 

 

This post was modified 4 months ago by mark bailey

Measure twice, cut once...


ReplyReplyQuote