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Hide glue pore filler?
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NorCalluthier
Posts: 136
Joined: Apr. 16 2016
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RE: Hide glue pore filler? (in reply to NorCalluthier)
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Hello All, Many thanks for all the responses! I'll be sanding back to the wood so that there isn't any glue left on the surface, just in the pores. I'm starting a test today of a comparison of a shellac pore fill and an HHG pore fill. They both cure up hard, so I'm guessing that they will have about the same---minimal---effect on tap tone (Q). Plain shellac improves the Q of my LS redwood by about 30%, to my surprise! I pre-finish parts, which is a trick that I learned while making furniture in Frank Ford's Gryphon building back in the early 1990's. Backs and sides are filled, and cured in a drying cabinet at 90-100° F., as are necks and bridges. I then proceed with French polishing when the guitar is all put together---notes available on request. I worked for Gene Clark briefly in 1963, and have the highest respect for his work. Marc Silber and I in the early 1990's talked him into going back to building guitars. We all have a tendency to fall in love with our own ideas, and Gene was no exception. Though we always remained friends, he had less than no interest in hearing anything about what I had learned. He had considerable technical background too, having been a radio ham, and a marine radio operator. Cheers, Brian
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 15 2020 17:10:59
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NorCalluthier
Posts: 136
Joined: Apr. 16 2016
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RE: Hide glue pore filler? (in reply to NorCalluthier)
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Hello All, When Gene and I first started the only information available, aside from A.P. Sharpe's booklet on Spanish guitar making, were books on violin making. The violin maker that he new in San Jose was Ernie Shertenlieb and we went to see him occasionally. We were both taken by the idea that an oil varnish was the best instrument finish. I got hold of Michelman's book on making rosinate varnish, and influenced by Meyer's book on artists materials, I believe it was, went to the trouble of finding cold pressed linseed oil. I then synthesized the resins for my varnish, used dipentine as a solvent, and finished three guitars. It killed the treble on them all, even though I increased the resin content on the last two. My conclusions from the oil varnish effort were that the treble might have come back to some extent in a long period of finish curing---I cured it with UV light. And that its damping effects were probably a good thing on violin tone, and that was why it had such a good reputation among violin makers. So, all my experience since going back to guitar making in 1993 is that just shellac, and not much of it, is the best finish for nylon string instruments. Gene's use of walnut oil is one place where we differ. I wrote an eulogy on Gene for American Lutherie when he passed away in which I described him as "The Most Unforgettable Character I Ever Met"---borrowed from the Reader's Digest series. Cheers, Brian
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 16 2020 22:45:42
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