2023
AL#149 p.68
Steve Dickerson
▪ When you see a big horrible blister form on a thick commercial finish, it means two things. Firstly, the finish is ruined. Secondly, it will come off nice and clean with a spatula and heat gun.
2023
AL#148 p.63
R.M. Mottola
▪ Legit scientist Graham Caldersmith was an early GAL member and a prolific author for us and other journals. Those articles have now been gathered and published in a book. Our reviewer talks about the book, and about Caldersmiths position in the lutherie literature.
2023
AL#148 p.65
John Calkin
▪ Our reviewer has seen a ton of instructional lutherie videos. And he likes this one.
2022
AL#147 p.66
John Calkin
▪ Calkin gives the thumbs-up to a fine 5-hour video just about wet sanding and buffing a lacquer finish. Prepping and spraying the finish is a whole other matter, not covered here.
2021
AL#143 p.2
Gila Eban
▪ Gila replies to Howard Stephens writing in AL#142. Mentions Tom Higgins, Alan Carruth, and Tom Knatt.
2021
AL#143 p.5
Mark French
▪ Leo asks what sealer Charles Fox uses on his MDF jigs, noting that they look great in the Guild’s Fox Method series and that Charles says he has been using some of them for twenty years. Author Mark French responds with info straight from Charles. He also comments on the use of MDF as wasteboards for vacuum hold-downs in CNC work.
2021
AL#142 p.68
Reg Beardsley
▪ Fix finish checking with diluted linseed oil. You have to dilute it with mineral spirits to reduce the viscosity. Some discussion of refractive index.
2020
AL#141 p.70
Howard Stephens
▪ The author argues that they don’t sound very different.
2020
AL#140 p.69
Stephen Faulk
▪ Describes mounting tap plates with white glue, and with adhesive Mylar transfer sheet. Mentions David Serva, Diego del Gastor, Paco de Lucia.
2020
AL#141 p.26
Leonardo Michelin-Salomon
▪ A Uruguayan luthier enrolls in a craft school in Norway to study Romantic-era guitars built by Italian, German, and French makers two hundred years ago. He writes an article about his techniques and discoveries that is published in an American journal with readers in over forty countries. Yes, it’s a big beautiful lutherie world. We are all just leaves on one wide-spreading, figured-maple branch.
2020
AL#140 p.48
Federico Sheppard Javier Campos Tijeras
▪ Many of the fine hand-made guitars that are born in Ganada, Spain, spend a few weeks in the shop of Javier Campos Tijeras receiving a light, thin coating of shellac before they venture out into a cruel world of fingernails, cigarette smoke, and shaky guitar stands. Javi explains his process and holds nothing back about the specific materials and supplies he uses.
2019
AL#137 p.70
Marshall Brune
▪ You have to build up the color slowly, over many coates, to get a good looking tint with French polish.
2019
AL#138 p.20
Mark French
▪ Author Mark French is walking the lutherie path in the reverse direction of many makers. As a physics prof trained in the crazy magic of CNC and industrial robot processes, he had made a lot of guitars before he did much in the way of traditional low-tech hand-tool work. As part of an intensive effort to fill in those gaps, he attended an eight-day course at Robbie O’Brien’s shop in Colorado to make a flamenco guitar with Spanish luthier and licensed bloodless toreador Paco Chorobo. O’Brien went to Spain and visited Paco’s shop in 2015. Read all about it in AL124.
2019
AL#138 p.28
John Calkin
▪ Got a used humbucker, a wall stud, some extruded aluminum, and a couple other odds and ends? Make a lap steel guitar! Author John Calkin likes to get right down to business. There’s nothing precious or over-thought here. Minimum tooling, maximum lutherie fun. This is how Leo Fender got his start, ya know.
2019
AL#136 p.4
Federico Sheppard
▪ Robert Ruck was one of the young self-starters who founded the American Lutherie Boom, and he remained a leading light in the movement until the end of his life. Federico Sheppard was an aquaintence and admirer who became closer to Ruck when they spent time together at Federico’s place on the Camino de Santiago in Spain one summer. In this article, Federico presents a photo tour of Ruck’s shop in Eugene Oregon and explains some of the tools and techniques we see. Mentions French polising with hardware-store shellac. Mentions Richard Brune.
2019
AL#136 p.12
Kerry Char
▪ A cool old Gibson-era Epiphone guitar got well and truly smashed in an incident involving large and excited dogs. Better call Char! Kerry Char, that is. He jumps right in to remove the top, take off the braces, and then put the whole thing back together and polish it up nice before you can say “Kalamazoo!” From his 2017 GAL Convention slide show.
2018
AL#134 p.16
Tim Olsen
▪ Ken Warmoth is one of the pioneers of the Strat-compatible guitar parts scene, starting small in the 1970s and working up to the sophisticated operation he runs today. He’s a born engineer, constantly refining and rethinking each operation for better accuracy and efficiency. Of course these days that involves CNC machines, and he’s got them. But you may be surprised to see which operations use them and which don’t. Our last visit with Ken was in 1991, so there is some catching up to do.
2017
AL#132 p.71
Cat Fox
▪ Experienced guitar repairer Cat Fox gives a big thumbs-up to Glooboost products for drop fills on lacquer. Well, her thumbs are not that big. Just regular.
2017
AL#130 p.66
Max Girouard Andrew Mowry
▪ Two mandolin makers test this post-catylized shellac product. They like it.
2017
AL#130 p.68
Arianna Colombo
▪ What’s the Italian method of “French” polishing?
2017
AL#130 p.69
Gary Clayton Fisher
▪ Does that miracle photo-setting glue they advertize on TV have any merit?
2017
AL#131 p.20
January Williams Peter Tsiorba
▪ Peter Tsiorba began his working life as a teenager making garments in a semi-legit Soviet cooperative. Today he’s a family man and a maker of classical guitars in the lutherie Mecca of Portland, Oregon.
2017
AL#129 p.68
Pete Daigle Reg Beardsley
▪ Make water-slide decals using specially prepared paper and the right brand of color laser printer. Plus a description of how one could make traditional water-slide decals in the old-school way, that is, by silk screening.
2017
AL#129 p.68
Charles Fox
▪ List of guitar finishing services.
2016
AL#127 p.38
Kevin Aram
▪ Conventional Wisdom says that rubbed-oil finishes are no good for guitars. Well, once again Conventional Wisdom is wearing a dunce cap, because Kevin Aram has made about 200 world-class classical guitars over the last twenty years using a finishing process that involves nothing but Liberon oil rubbed on with a rag. No sealer, no solvent, no compressor, no filters or exhaust fans. Heck, not even a brush. But it does require excellent surface preparation. He shows us exactly how to do it.
2016
AL#128 p.22
Pat Megowan Jeff Lee Manthos
▪ People come to lutherie on many different paths. Some of us were nerdy model-making kids, or spoiled lefty college dropouts. Or maybe the garage band was our gateway into the opium den of guitar making. On the other hand, Jeff Manthos was a helicopter aircrewman and rescue swimmer in the Vietnam era. Then, unexpectedly, he went to the Violinmaking School of America in Salt Lake City. He has made a career of it, first in other shops and now on his own.
2015
AL#124 p.69
Jeff Jewitt
▪ It’s not easy, but it is possible to spray shellac. Here’s how.
2016
AL#125 p.48
James Condino
▪ James Condino does sunbursts on archtop mandolins the way they did it back in the 1920s: rubbing water stains directly on the bare wood.
2015
AL#124 p.69
Jeff Jewitt
▪ Working with commercially-branded tung oil can be complicated. It may have unnamed additives, or may contain no actual tung oil at all. But yes, it is possible to produce a gloss finish by wiping tung oil.
2015
AL#121 p.68
Cyndy Burton
▪ Tricks and techniques for finishing slotted headstocks.
2014
AL#120 p.70
Cyndy Burton
▪ Preventing the impressing of a cloth weave pattern into the not-quite hard shellac following a French polish session.
2014
AL#117 p.68
Stephen Marchione
▪ Applying finish by padding rather than brushing, as taught to Stephen Marchione by Guy Rabut.
2014
AL#117 p.48
R.M. Mottola
▪ An examination of varnish techniques to create the illusion of aged instruments and other aesthetic effects.
2012
AL#109 p.71
Cyndy Burton
▪ French polish technique and pore-filling procedure.
2011
AL#106 p.64
Jeff Jewitt
▪ Spraying KTM-9 finish with an affordable but good quality HVLP spray gun suitable for guitars and mandolins.
2010
AL#104 p.68 read this article
Walter Carter
▪ Gibson and Martin’s change from varnish to lacquer; why and when.
2010
AL#103 p.69 read this article
Michael Darnton
▪ Restoring an old Carl Friedrich Pfretzschner 1773 violin.
2010
AL#101 p.68
Jeff Jewitt
▪ Suggestions for spraying lacquer in a small one-car garage.
2009
AL#99 p.3
Ronald Louis Fernandez
▪ Fernandez offers corrections to Tom Harper’s review of his instruction DVD French Polishing for Guitarmakers 2.0.
2009
AL#97 p.65 read this article
Tom Harper
▪ Beginners often face the prospect of French polishing with some trepidation. As in many facets of lutherie, video is usually a better instructor than text. With only a few reservations the reviewer finds this DVD to be a clear and concise tutorial.
2009
AL#97 p.68
Tim Olsen
▪ Describing Jimmy D’Aquisto’s spray setup, now on display at the national music museum, Vermillion South Dakota.
2009
AL#97 p.68
Gary Southwell Koen Padding
▪ An experiment involving two pieces of European Spruce, testing the effects of oil finish VS French polish and the use of olive oil in particular.
2009
AL#98 p.18 ALA3 p.58
Tim Olsen Cyndy Burton
▪ Burton has been tenacious in her pursuit of the classical guitar, traveling widely and learning from the likes of William Cumpiano, Eugene Clark, and Jeffrey Elliott, making a name for herself in what has largely been a man’s world. We’re all members of her fan club and rejoice at finally knowing more about her. With 17 photos.
2008
AL#96 p.50
Bob Gleason
▪ A low key (not to mention fun) description of how uke making varies from guitar making. Gleason also describes some of the varieties Hawaiian wood he likes to work with, a slick method for removing lacquer from the bridge foot print, and some of the construction tricks he has come up with. Owning a shop in Hawaii must surely take the lutherie life to another level. With 15 photos.
2008
AL#95 p.69
Scott van Linge
▪ The Dynabrade Dynabug quarter-sheet finishing sander has clips on the pad to allow the use of any sandpaper.
2008
AL#96 p.6 ALA3 p.68
Robert Ruck Jeffrey R. Elliott Manuel Velazquez Alfredo Velazquez
▪ Manuel Velazquez built his first guitar in 1929. Can you imagine that? His son Alfredo is carrying on the tradition, though Manuel has not retired. He has definite opinions about what woods make the best guitar and how they should be finished. He is a giant in the business and must be admired for his tenacity as much as his ability. And a fun interview to boot. Mentions Bobri, Andres Segovia, Torres, Santos Hernandez, and Hermann Hauser. With 36 photos.
2007
AL#90 p.66 read this article
Jeff Jewitt
▪ Availability of gloss tung oil in the USA or UK, for those who like a gloss finish.
2006
AL#86 p.66
Brian Boedigheimer
▪ What to do about tiny scratches in finishes, noticed after buffing.
2006
AL#85 p.20
Jonathon Peterson David King
▪ King is a perfectionist who even machines his own bridges. The finish he uses is a catalyzed polyurethane. He uses some interesting equipment to arch his fingerboards and install his frets. After reading this you may not be eager to set up next to him at an instrument show. With 15 photos.
2005
AL#84 p.65
Scott van Linge
▪ Tips on water based lacquer finishing, swabbing scratches with everclear and German-made spray guns by Sata.
2005
AL#82 p.26 BRB7 p.312
Jonathon Peterson Charles Beare
▪ Beare is the captain of a violin restoration firm, a competition judge, and a man thoroughly versed in the intricacies of vintage violins. He has known all the experts of his life time, and he has formulated many strong opinions about old fiddles and the various fields that use them to do business. You’ll find him interesting even if you aren’t a violin person. With 9 photos.
2005
AL#82 p.66 BRB7 p.437
Don Overstreet Don MacRostie
▪ Cleaning a 1920 Gibson A-4 mandolin properly without hammering whatever finish is present and removing the wax layers.
2004
AL#78 p.67 BRB7 p.357
John McCarthy
▪ Finish for cocobolo.
2004
AL#78 p.67
Eugene Clark
▪ Making a viable batch of French polish and considering the variables: brands of flake and grain alcohol, dissolving or grinding flakes, and age of shellac flake.
2004
AL#79 p.6 BRB7 p.206
R.E. Brune
▪ In a sense Brune is laying down the law for successful classical guitar making. Much of it will be useful to any builder, and all of it is interesting because Brune is an interesting man who has his thoughts together. Not to mention that he’s a heck of a luthier with a deep background in the history of his craft. With 30 photos and 8 diagrams. Mentions Santos Hernandez, Marcelo Barbaro, Ignacio Fleta, Hermann Hauser, Sr.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
2004
AL#79 p.34 BRB7 p.416
Peggy Stuart Don MacRostie
▪ The author attended a mandolin making class taught by Don MacRostie at the American School of Lutherie. The first four parts of her report appeared in the four previous issues of AL. Part Five concerns the application of a sunburst using stains, both by spraying and rubbing, as well as the application of lacquer and French polish finishes. With 37 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2004
AL#79 p.63 BRB7 p.252
Charles Fox
▪ Tiny scratches after using a power buffer to rub out finish.
2004
AL#79 p.63 BRB7 p.475
Don MacRostie
▪ Doing a sunburst finish by hand, without using a spray gun.
2004
AL#77 p.67 BRB7 p.490
Scott van Linge
▪ Mushy, overcooked angel hair spaghetti as an excellent grain filler for mahogany necks.
2004
AL#78 p.56 read this article
Dave Raley
▪ The pine woods are full of leaky trees that want you to make rosin varnish. The author tells how to harvest it and how to make an electric tin can kiln to melt rosin into a form that can be dissolved in alcohol. With 7 photos and 6 diagrams.
2003
AL#76 p.46 BRB7 p.138
John Calkin
▪ One man’s journey through the world of lacquer paint that includes safety equipment, varieties of paint both old and new, application equipment, and some preferences. With 7 photos.
2003
AL#75 p.12 BRB7 p.416
Peggy Stuart Don MacRostie
▪ The author describes her mandolin making class with Red Diamond mandolin builder Don MacRostie, giving us a photo-heavy series that should be of practical use to anyone in the mandolin field regardless of their experience. The emphasis is on hand tools, though power tools are used to add efficiency. With 68 photos and 4 drawings, this is the first in a four-part series.
This article has been nominated as one of the Guild’s best articles published before 2010.
2003
AL#75 p.68 BRB7 p.71
Cyndy Burton
▪ Causes of some finish to craze more than others and what to do.
2003
AL#75 p.69
Chad Phillips
▪ A blonde finish to obscure a repair just enough to be invisible.
2003
AL#73 p.24 read this article
Mike Doolin John Greven
▪ Finding good water-based instrument finishes becomes more important as luthiers (and various state and federal government agencies) become more health conscious. The authors are both Portland people, and by trying different materials and application techniques and then combining their discoveries they have made big leaps toward finding the perfect alternative to lacquer. With 9 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
2002
AL#71 p.69 BRB6 p.309
Bob Miller Fred Carlson
▪ A pore-filler and sealer that is compatible with a brush-on oil finish.
2002
AL#72 p.22 read this article
Michael Turko
▪ A number of well-known luthiers have switched to this finish, including the speed-builder John Greven. In the author’s experience it’s quick, easy, rivals nitro lacquer in appearance, and is non-toxic, a winning combination for sure. With 3 photos.
2002
AL#72 p.60 BRB6 p.486
R.M. Mottola
▪ The reviewer examines the Asturmes ES/RV spray gun and finds that it’s the answer to the finish problems he’s found, and at a reasonable price. With one photo.
2002
AL#70 p.4 BRB6 p.350
John Calkin Ralph Novak
▪ Novak has been on the guitar scene since the late ’60s, specializing in the creation and repair of electric instruments, though his expertise doesn’t end there. His best-known invention is probably the Novax fanned fret system, though his work with multi-string guitars deserves note. Mentions Charles LoBue. With 17 photos.
2002
AL#69 p.48 BRB6 p.500 read this article
John Calkin
▪ The author discovers that this kit provides a harp fit for a professional musician. The finished harp is a powerful instrument with a wide range, and though the kit is pricey it is easy to build. The process of lace finishing is described in detail. With 17 photos.
2001
AL#68 p.24 BRB6 p.280
John Kitakis
▪ Kitakis has a long history of jobs in wood finishing, so when he finally made the jump to water-based finish (in his case CrystaLac) he knew what he was doing. Working with CrystaLac isn’t quite the same as working with lacquer, but the author makes a good job of clearing the off-spray. With 5 photos.
2001
AL#66 p.20 BRB6 p.216
Greg Hanson Sebastian Stenzel
▪ Stenzel is a German who specializes in classical guitars. He shares much information about his guitars as well as some opinions that may surprise you. With 5 photos.
2001
AL#65 p.39 BRB6 p.170
Fred Campbell
▪ A large part of the secret to getting a fine gloss finish of any sort is the preparation of the wood before anything is even applied. Campbell has specialized in finish work for years and isn’t shy about sharing what he knows.
2001
AL#65 p.57 BRB6 p.215
Greg Byers
▪ Sealing the interiors of fretted instruments: most builders don’t.
2001
AL#65 p.57 BRB6 p.215
Cyndy Burton
▪ Clear spring 190 proof ethanol, everclear, and other drinkable grain alcohols to use for making shellac and for French polishing.
2000
AL#63 p.56 BRB6 p.471 read this article
Fred Carlson
▪ Mr. Fred spins a tale about new finish products, then reviews the orange oil-based finish products from Livos.
2000
AL#63 p.61 BRB6 p.533 read this article
John Calkin
▪ The reviewer admires this video as a look at the real world of guitar finishing, where standards are high and problems are bound to arise.
2000
AL#61 p.62 BRB6 p.530 read this article
John Calkin
▪ The reviewer recommends this book to anyone who wishes to spray lacquer, but especially to those who wish to recreate many of the electric guitar finishes the factories have put out.
2000
AL#61 p.63 BRB6 p.531 read this article
John Calkin
▪ The reviewer likes this video for its good advice to luthiers who have no access to professional equipment. Those who already have a booth and good spray gear will also benefit from the instruction. The 2 jobs involved are both electric guitars finished in colors.
2000
AL#61 p.64 read this article
John Calkin
▪ Super glue interaction with finishes.
1999
AL#59 p.6 BRB5 p.374
Frank Ford
▪ A top repairman tackles the sticky subject of what repair and restoration work should be tackled in this age of vintage instrument mania, especially in the area of elective surgery. Even today’s utilitarian instruments may be tomorrow’s hot collectibles, so every instrument that passes over our bench has to be considered in this light. What work should we refuse, and what are our liabilities for the work we do? Includes 41 photos, mostly of vintage guitars and mandolins.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1999
AL#59 p.59
Eric Aceto
▪ Inquiries on switching to water based lacquer after developing an allergy to low toxic lacquer, Crystalac in particular.
1999
AL#58 p.58 BRB5 p.501
Andrea Andalo
▪ A simple device to hold guitars during the finishing phase which consists of an upright which can be held in a vise and a workboard which the neck can be secured.
1998
AL#55 p.62 BRB5 p.208
Frank S. Hedi Gavin Baird
▪ It is customary to glue on the bridge after finish is done on the guitar for a far easier cleanup job.
1998
AL#54 p.56 BRB5 p.476
John Calkin
▪ The reviewer finds this set of 5 videos to be useful and complete for those who wish to build an archtop guitar, but that those who lack previous lutherie experience should also have the book by Benedetto.
1998
AL#54 p.57 BRB5 p.477
John Calkin
▪ The reviewer decides that the book should be of use to anyone who is about to purchase their first spray gear, but that other sources of information are more lutherie-specific.
1998
AL#54 p.65 BRB5 p.193
Stephen Bacon
▪ Epoxy as filler.
1998
AL#53 p.59 BRB5 p.147
Fred Campbell Douglas Somervell
▪ Differing clarifications on using epoxy as filler on rosewood under nitrocellulose lacquer.
1998
AL#53 p.60 BRB5 p.458
Michael Darnton
▪ Are there good alternative finishes for violins? What’s the best way to repair a nicked fiddle? Where is the best place to position the soundpost?
1998
AL#54 p.6 BRB5 p.182
Cyndy Burton Eugene Clark
▪ Jeez, there’s a lot to know about French polishing. Changing lubricating oils can change the quality of the job, but there are reasons to change oils. The pad you rub with makes a difference. The longevity and toughness of the finish can be controlled by the materials you use. This work is deeper than meets the eye. Burton attended a class taught by Clark, and she brings home the straight skinny for American Lutherie. With 15 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1997
AL#52 p.65 BRB5 p.137
Michael Darnton
▪ What finish Martin used before nitrocellulose lacquer and when they switched.
1997
AL#51 p.54
Cyndy Burton
▪ Burton lists 2 pages of suppliers and manufacturers of finish and glue, and offers more than a page of useful tips gleaned from many luthiers.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#52 p.46 BRB5 p.148
R.E. Brune
▪ What does it take to restore an important instrument? Skill, research, and a solid feel and appreciation for the time during which the piece was made and played. Skip any of these factors and you could easily screw up an irreplaceable piece. Brune describes his approach to one guitar while at the same time demonstrating the qualities necessary to enter this field.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#52 p.56 BRB5 p.458
Michael Darnton
▪ The soundpost of a cello can push the hard grain of the spruce right through the varnish. So how does one fix the problem? Is your varnish not as clear as you’d like? Damn! What’s the best way to scale down a 4/4 violin to the smaller sizes? Darnton comes to the rescue again.
1997
AL#51 p.50 BRB5 p.458
Michael Darnton
▪ Straight talk about why slab-sawn wood is a poor choice for violin necks, boiling down an alcohol solution, getting a chin rest to stay on a fiddle, and making lake pigments.
1997
AL#50 p.61 BRB5 p.137
Mike Longworth
▪ What finish Martin used before nitrocellulose and when they switched.
1997
AL#50 p.44 BRB5 p.41
Michael Hornick
▪ Good lacquer work isn’t mysterious, just a pain in the neck. Hornick has it down to an art and a science, and he offers up his recipe to the last detail.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#50 p.59 BRB5 p.491
Alan Carruth
▪ Mixing 10 percent of acetone in polyurethane for nice bite.
1997
AL#50 p.60 BRB5 p.129
Dave Hajicek
▪ A reliable method to correct extensive lacquer finish crazing. He sprays pure MEK.
1997
AL#49 p.10 BRB4 p.4
Woodley White
▪ Baarslag journeys to the American School of Lutherie to teach a week-long class about building classical guitars. White attended, and gives a full report. With 37 photos.
1997
AL#49 p.59 BRB5 p.489
Peter Schaefer
▪ The German company Auro makes readymade shellac and amber varnish (lacquer).
1996
AL#48 p.38 BRB4 p.406
Christopher Luck
▪ How to get a good CrystaLac finish in a small shop on a tight budget.
1996
AL#48 p.46 BRB4 p.474
John Calkin
▪ Reviewed here are six videos, one about violins setups, one about French polishing, and four about guitar repair. All are found worthy, though two of the repair tapes are for the inexperienced luthier.
1996
AL#48 p.57 BRB4 p.502
John Calkin
▪ Touching up dings in polyesters or polyurethanes with lacquer.
1996
AL#47 p.30 BRB4 p.346
John Calkin Geoff Stelling
▪ A profile of one of the leaders in high-end banjos, featuring a tour of the shop, production techniques, construction methods, and banjo/motorcycle cross-pollination.
1996
AL#47 p.57 BRB4 p.150
Peter Schaefer
▪ European sources of lacquer are given.
1996
AL#45 p.57 BRB4 p.503
Norbert Pietsch
▪ This device is handy for ‘antiquing’ or yellow staining for resonator bindings.
1996
AL#45 p.10 BRB4 p.264
R.E. Brune
▪ This 1995 lecture transcription investigates the history of art applied to lutherie in all its varied forms, and then translates many of them into illustrations of contemporary instruments. Topics include painting, gilding, carving, veneer, inlay, engraving, and varnish work. With 49 photos and illustrations.
This article has been nominated as one of the Guild’s best articles published before 2010.
1996
AL#45 p.44 BRB4 p.474
John Calkin
▪ Some videos are worth the money, and some aren’t. It depends more on the depth of your experience and interest than on the quality of these videos, which is generally good. Take a look at a batch of tapes (and one book) from Stewart-MacDonald about building or repairing stringed instruments.
1996
AL#45 p.56 BRB4 p.491
Bob Milburn Orville Milburn
▪ Reducing shellac flake dissolve time with the use of a coffee grinder.
1995
AL#44 p.20 BRB4 p.230
Guy Rabut
▪ Apparently not every violinist is determined to have a fiddle that looks 300 years old. Rabut has made some interesting attempts to update the violin without sacrificing the tone that everyone demands. Can’t wait until these babies start showing up in symphonic orchestras. With 21 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#44 p.38 BRB4 p.248
Fred Campbell
▪ Campbell finishes the guitars that other luthiers build. He has become an expert spray meister with the confidence to give away the tricks he has learned the hard way. This is perhaps the best piece on lacquering AL has ever printed. With 7 photos and a finishing schedule.
This article has been nominated as one of the Guild’s best articles published before 2010.
1995
AL#43 p.52 BRB4 p.442
Michael Darnton
▪ What is Nussbaum? Is there such a thing as irreparable damage?
1995
AL#42 p.60 BRB4 p.442
Michael Darnton
▪ Why can’t I get the proper degree of polish from my varnish? How high should a saddle be? Why do my violins come apart during varnishing? What stylistic mistakes are most common? Why is oil varnish so nasty?
1995
AL#41 p.58 BRB4 p.486
Tom Ribbecke
▪ Achieving brush free results for lacquer in the rain and cold.
1995
AL#42 p.8
Peter Manuel
▪
1995
AL#42 p.12 BRB4 p.174
Robert Ruck
▪ Ruck spends most of his time in this lecture talking about top design and finishing. With 13 photos and several drawings, plus a detailed list of his finish materials and procedures.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1995
AL#41 p.56 BRB4 p.442
Michael Darnton
▪ Why is there a step in the neck behind the nut of my fiddle? What angle are the junctions of the ribs cut to at the corners? What’s the difference between French and Belgian cello bridges? Zits in the varnish? Why does my French polish crackle?
1994
AL#40 p.50 BRB4 p.82
John Calkin
▪ Calkin’s pair of articles first takes a look at Vreeble, a form of lacquer-based crackle paint, and then at refinishing an electric bass with curly maple veneer.
1994
AL#39 p.36 BRB4 p.72
Dan Erlewine
▪ In the last issue Erlewine described how he made a new “old” Tele body. In this installment he attacks the neck, quite literally. With 40 photos.
1994
AL#38 p.56 BRB4 p.485
Gene Simpson
▪ A trick to transfer lacquer thinner from a 5 gallon container to a 1 gallon can.
1994
AL#38 p.18 BRB4 p.28
Dan Erlewine
▪ How do you make a new electric guitar that looks like it spent forty years in the bar wars? Erlewine uses two finishes with incompatible shrink rates, rope, the concrete floor, you name it! Creativity can be harsh, but his Tele certainly looks vintage.
1994
AL#38 p.54
Robert Steinegger
▪
1994
AL#37 p.44 BRB4 p.23
Keith Hill
▪ Hill cooks up a varnish that resembles the fiddles in the early paintings, not those same fiddles 300 years later. A hundred years from now he expects his violins to be prettier than anyone’s.
1993
AL#36 p.6 BRB3 p.380
Dan Erlewine
▪ Erlewine hides his wooden patches under a field of colored French polish, then paints over it with simulated wood grain, and then might shoot a sunburst around everything. Old European craftsmen would smile in recognition of these tricks, but they are seldom applied to guitars.
1993
AL#36 p.40 BRB3 p.405
Jonathon Peterson Scott Tremblay
▪ Trembley is a Canadian luthier who specializes in the guitars of the 19th century, both as a maker and a restorationist. He has studied the subject deeply. With 12 photos and a scale drawing of an 1816 Salon Guitar by Jose Martinez. This plan is a reduced version of GAL full-scale Plan #36.
1993
AL#36 p.52 BRB3 p.422
Jonathon Peterson
▪ Four repairmen offer a variety of tips about altering mechanical archtop bridges, adding more “pop” to fretless bass necks, soldering and shielding electrics, carbide bandsaw blades, abrasive cord, superglue, cutting saddle slots, double-stick tape, bending plastic binding, beveling pickguard stock, replacing bar frets with T-frets, and restoring headstocks to look old.
1993
AL#35 p.56 BRB3 p.495
John Calkin
▪ Finishes, including high texture Flecstone, Tru-oil, and McClosky’s bar top; a commercial varnish.
1993
AL#35 p.34 HLC p.196
Robert Lundberg
▪ The bowl is finished with shellac and rubbed out. With 38 step-by-step photos and detailed captions. This series ran for 19 installments in American Lutherie and has been collected into our hardback book Historical Lute Construction.
1993
AL#34 p.54 BRB3 p.446
Michael Darnton
▪ What adjustments change the tone of a violin? Should new pegs be reshaped or should the pegbox holes be opened to fit them? Which glue for a top center seam? Are stains really useless?
1993
AL#33 p.12 BRB3 p.278 read this article
Roberto Gomes
▪ Gomes offers a list and short description of some current Brazilian builders.
1993
AL#33 p.14 BRB3 p.280
R.E. Brune
▪ Brune describes a rare 11-string Torres guitar and the manner in which he restored it. With 11 photos and a half-page of drawings. Mentions Romanillos.
1993
AL#33 p.30 BRB3 p.292
Geary Baese
▪ When a violin guy gets on the trail of an old guitar it comes out sounding an awful lot like a violin article. And when Stradivari is involved what else can one expect? Baese makes an educated guess about the materials and techniques that finished a famous guitar. With 8 photos.
1993
AL#33 p.35 BRB3 p.308
David Freeman
▪ Micro-mesh is the latest word in sandpaper. In fact, it’s not even paper and it doesn’t feel sandy. Freeman and his students use it for all wet-sanding chores, including the final gloss finish. It’s that fine.
1993
AL#33 p.36 BRB3 p.303
Wes Brandt
▪ A well-known repairman delivers eight tips, including an alternate way to bend a Venetian cutaway, tool tips, and a way to bend sides more accurately.
1992
AL#32 p.44 BRB3 p.266 read this article
Michael Darnton
▪ Nothing is easy for fiddle people. When they aren’t tweaking and gluing wood they are stirring up a witch’s brew in their home chem labs. Darn if Darnton doesn’t sound like he likes it, though. Buy some fancy wood. Trick it into changing color.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#32 p.58 BRB3 p.270
Jim Grainger
▪ Grainger swears that this work is easy and profitable, and makes it seem so. The secret ingredient is called Final Coat, a Mohawk product.
1992
AL#30 p.49 BRB3 p.485
Tom Ribbecke
▪ Eliminating bubbles that form in the finish when spraying lacquer on rosewood.
1992
AL#30 p.49 BRB3 p.486
Ed Margerum
▪ A mill used for rock polishing as an easy, safe, time saving way to dissolve resins and mix varnishes.
1992
AL#30 p.49 BRB3 p.485
Jeffrey R. Elliott
▪ Reducing cleanup after using a handheld power buffer with liquid buffing compound on the wool pad.
1992
AL#30 p.54 BRB3 p.446
Michael Darnton
▪ Darnton examines the use of various woods for tuning pegs, discusses the differences among Italian, German, French, and English methods of building fiddles, runs down a list of violin societies, and dismisses the use of supplier-prepared violin varnishes.
1992
AL#29 p.60 BRB3 p.446
Michael Darnton
▪ Darnton sheds light on asymmetrically graduated violin tops, natural drying vs. UV drying of varnish, and the market in Baroque fiddles.
1991
AL#28 p.34 BRB3 p.126 ALA4 p.10
Phillip Lea Bob Taylor
▪ Few people in Guitarland are as outspoken and clear-headed as Bob Taylor. Others might say he’s just opinionated. He believes a good guitar is a good guitar, no matter if it was whittled by Gepeto or cranked out by a dozen computer-guided milling cutters. This article offers a peek into the Taylor factory and a guided tour through one man’s thoughts about the contemporary guitar. With 28 photos.
1991
AL#27 p.4 BRB3 p.80
Chris Brandt R.E. Brune Jeffrey R. Elliott Richard Schneider Ervin Somogyi David Wilson
▪ A look inside the shops of six professional luthiers, featuring floor plans, tooling descriptions, notes on lighting and specialized machinery, and ideas about how work space can help (or hurt) your lifestyle. With a good Q&A segment and 63 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1991
AL#26 p.42 BRB3 p.32 read this article
Cyndy Burton Donald Warnock
▪ It’s wonderful that this interview is in the same issue as interviews with Larrivee and Warmoth, since they are opposites. The first two are sort of factory moguls, and Warnock is the gentlemanly craftsman/artist. All have forged a successful life on their own terms, and the contrast is delicious.
1991
AL#26 p.52 BRB3 p.446
Michael Darnton
▪ Darnton discusses wolf tones, the life span of new fiddles, and why lacquer is never used on a violin.
1991
AL#25 p.56 BRB3 p.446
Michael Darnton
▪ Darnton turns some pictures of a mystery fiddle into a thousand words. Or a few hundred, anyway. Then he moves on to discuss distorted ribs, retouching varnish, and tracking down a mystery buzz. He adds an update about his varnish formula.
1991
AL#26 p.8 BRB3 p.37 ALA4 p.28
Jean Larrivee
▪ Larrivee has overseen the creation of 15,000 acoustic guitars and 12,000 electrics. Much of what he has to say pertains as strongly to the one-off builder as it does to another industry giant, and he doesn’t hold back on anything.
1991
AL#26 p.26 BRB3 p.60
Ken Warmoth
▪ Most in-the-know electric guitar folks consider Warmoth necks and bodies to be the best going. Here’s how they’re made. With 22 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1991
AL#25 p.14 BRB2 p.430
Frederick C. Lyman Jr.
▪ Lyman continues his crusade for a low-cost, high performance bass viol. Part 1 was printed in the previous issue.
1990
AL#24 p.30 BRB2 p.430
Frederick C. Lyman Jr.
▪ Lyman builds a bass with a lauan body and a top of quartersawn 2x4s, and is quite pleased with the outcome. There are only 2 photos, but a lot of text. Lyman’s conventional basses are in the hands of many well-known musicians. He certainly knows the difference between good and bad instruments. Part 2 follows in the next issue.
1990
AL#24 p.54 BRB2 p.486
Michael Darnton
▪ Details include cooking varnish, finishing necks, causes of neck cracks, and adjusting a peg shaper to match your peg reamer.
1990
AL#24 p.56 BRB2 p.469
John Calkin
▪ Calkin encourages the use of alternative tonewoods. He offers advice about choosing cherry boards and methods of finishing cherry instruments that he has found attractive.
This article has been nominated as one of the Guild’s best articles published before 2010.
1990
AL#22 p.38 BRB2 p.376
Michael Darnton
▪ Violin people think about finishes in a way that guitar makers have difficulty grasping. It is an obsession. Darnton’s lengthy article discusses varnish types and components and offers a few recipes. It doesn’t seem fair that guitar folks don’t get to play with stuff called dragons blood, sandarac, and propolis, to name just a few. Such exotic incantations are bound to improve a finish, don’t you think?
This article has been nominated as one of the Guild’s best articles published before 2010.
1990
AL#22 p.49 BRB2 p.484
David Freeman Ralph Novak
▪ Water base finishes are more labor intensive but the trade offs of health and fire hazard are worth it.
1990
AL#23 p.12 BRB2 p.393
John Chipura
▪ This is a wood treatment shoot-out. Waterglass is a controversial ingredient in violin finishing. Chipura makes a case for using calcium silicate instead.
1990
AL#24 p.54 BRB2 p.495
Michael Darnton
▪ When you are cooking violin varnish, how much smoke is enough? And how much is too much? BTW, if it explodes in flames, you went too far.
1990
AL#24 p.54 BRB2 p.497
Michael Darnton
▪ The neck of a fiddle looks bare. Usually it’s got some linseed oil or some shellac on it.
1990
AL#21 p.38 BRB2 p.362
Rick Rubin
▪ The goal is to preserve instrument wood for centuries, or make it stiffer. Either or both will do. Rubin examines a list of wood additives and lets the reader decide what to do.
1990
AL#21 p.58
Tim Olsen
▪ Refer to data sheet 280 for information on neutralizing the residues of paint strippers.
1989
AL#19 p.58 BRB2 p.482
Willis Groth
▪ A Japanese produced cast iron induction hotplate for cooking varnish.
1989
AL#20 p.14 BRB2 p.306
Michael Darnton
▪ Darnton offers some in-depth advice to help you make your violin repairs invisible.
1989
AL#18 p.57
Cyndy Burton
▪ Water based lacquers are too thin and run, and streak according to the answerers.
1989
AL#19 p.58 BRB2 p.482
Gary Fish
▪ Several techniques to accomplish a neat seam, trying to keep the glue off the surrounding finish.
1989
AL#17 p.55
Cyndy Burton
▪ Refinishing ovations.
1989
AL#18 p.12 BRB2 p.214
Geary Baese
▪ Baese draws upon old literature and recent black light testing to draw his conclusions about the structure of old varnishes. The Q&A session reveals a high sophistication in the audience. With 5 photos and a few old print reproductions.
1989
AL#18 p.52 BRB2 p.497
Robert Lundberg
▪ The reviewer finds he could easily recommend this book if it weren’t so overpriced.
1989
AL#17 p.43 BRB2 p.199
Dana Bourgeois
▪ Bourgeois discovers a simple trick to keep his spray work uncontaminated—spray it upside down and hold it there until the lacquer flashes off.
1989
AL#17 p.48 BRB2 p.206
Geary Baese
▪ Baese writes about adding color to violin varnishes in an historically accurate manner. He defines a lake pigment as “fixing . . .an organic soluble dye upon an inorganic carrier to render an insoluble colored compound.”
1989
AL#17 p.6 BRB2 p.162
Tim Olsen
▪ Whether or not there is anything new to be said about Stradivari, it is impossible for a serious publication about lutherie not to take him into account at some point. Olsen’s lengthy article includes analytical drawings and photos of the master’s work. All the guitar and mando folks might wonder what the fuss is about. Olsen sets us straight.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1988
AL#16 p.6 BRB2 p.112
Steve Andersen
▪ A well-known maker of archtop instruments offers an in-depth examination of his building style and his business. With 13 photos.
1988
AL#14 p.53 BRB2 p.67
George Manno
▪ Manno offers a recipe for a golden-red varnish for use on new violins.
1988
AL#13 p.52 BRB2 p.32
George Manno
▪ Manno explains how to make the colorants of violin varnish safe from fading. He also offers advice about keeping your chemical experiments safe.
1988
AL#14 p.4 BRB2 p.38
Cyndy Burton Greg Byers Robert Steinegger Buzz Vineyard
▪ This workshop lecture and its audience participation make a wonderful case for the value of collected experience. These 7 pages of text and photos offer tips and information not to be found in any of the French polishing videos and articles that have come out since, as well as explaining the basics of finishing with shellac.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1988
AL#14 p.11 BRB2 p.45
Tim Olsen
▪ Is shellac made of sap from a tree in India? Or is it from juice exuded from a bug that eats that sap? Or is it more complicated than that?
1988
AL#13 p.5 BRB2 p.161
John Randerson
▪ Randerson adds a lengthy note about different alcohols to the 1704 violin varnish formula previously offered by Manno in AL#12, and Manno answers.
1987
AL#12 p.22 BRB1 p.454 ALA3 p.4
Joseph Bacon Jeffrey R. Elliott
▪ A lengthy interview with the well-known maker of classical guitars covers such subjects as training, wood seasoning and supply, finishes, and boomerangs. Cyndy Burton participates. Mentions Hauser Sr., Michael Kasha, Richard Schneider, Ralph Towner, and Julian Bream. With 4 photos.
1987
AL#11 p.30 BRB1 p.482
George Manno
▪ Manno is an honest man (even when honesty hurts), knowledgeable, and opinionated. An especially strong column that touches upon repair prices, colors for varnish touchups, tonewood sources, Polish white bow hair, and Tetto Gallo violins.
1987
AL#11 p.51 BRB1 p.501 read this article
Ernest Nussbaum
▪
1987
AL#11 p.55 BRB1 p.430
Michael Parsons
▪ With this stand-alone jig you can spray or brush an instrument without having to touch it.
1987
AL#12 p.12 BRB1 p.451 read this article
George Manno
▪ This is a recipe for a touchup violin varnish, with instructions for adding colors.
This article has been nominated as one of the Guild’s best articles published before 2010.
1987
AL#10 p.36 BRB1 p.390 read this article
Jeff Feltman Jack Batts
▪ Intelligent questions and no-holds-barred answers make this long interview with a veteran builder seem too short. All violin articles should be this interesting. Forty-nine years dedicated to wood, glue, and varnish have to teach one a great deal. With 8 photos. Mentions Sacconi, Stradivari, Guarneri, and Amati.
1987
AL#11 p.12 BRB1 p.420
Gila Eban
▪ Eban builds Kasha-style classical guitars. She comments at length about how her aesthetic concept for the guitar evolved, and offers many details of her construction procedures. Her descriptions of her work are so entrancing that you will long for more photos than the five that are offered. With rosette drawings.
1987
AL#9 p.34 BRB1 p.332
Dave Schneider
▪ A ’68 paisley Tele is reborn, complete with Parsons B and E benders and a complete refinishing from the foil on up.
1986
AL#8 p.42
Brian Derber
▪ Derber tries out “good tone in a can,” a wood treatment that the manufacturers claim instills a vintage tone in your new instruments. He finds it wanting, though his test is hardly scientific. Nor does he believe that further testing is warranted.
1986
AL#7 p.60 BRB1 p.498 read this article
George Manno
▪ The reviewer finds the book to be a worthwhile investment for anyone seriously trying to duplicate antique violin finishes.
1986
AL#5 p.10 BRB1 p.150
Ted Davis William DelPilar
▪ Davis offers his conversation with a professional luthier who made over 800 classical guitars between 1956 and 1986.
1985
AL#3 p.38 BRB1 p.90
Ed Mettee
▪ Photos and sketches fill out a description of a knockdown solidbody guitar that fits into a briefcase.
1985
AL#3 p.47
Tim Earls
▪ Earls describes his ordeal of completing a guitar painted by an auto body shop.He finds that even the best auto painter may not understand the intricacies of the guitar.
1985
AL#2 p.49 BRB1 p.72
Ted Kellison
▪ Kellison presents a safe method for preheating lacquer before spraying, and recommends an anti-static gun.
1984
GALQ Vol.12#2 p.28 BRB1p.410
Fred Carlson
▪ Beards may interfere with the filtering out of toxic stuff in the air by use of a standard respirator.
1984
DS#280 LW p.86 read this article
Michael Dresdner
▪ There are several ways to lay out an inlay pattern before routing, but this one might be the most accurate.
1984
DS#269 BRB1 p.264
Neil Hebert
▪ This guitarmaker has adopted finishing techniques that are often reserved for violins, and claims that in eye and tactile appeal it is superior to lacquer. Particularly important is how he deals with rosewood’s tendency to bleed color, a problem that fiddle finishers don’t have to face.
1984
DS#276 BRB1 p.262 read this article
Graham Caldersmith
▪ The Sacconi technique of sealing fiddles with silicates has not been widely accepted. Nevertheless, the author explains how he has successfully used silicates to seal and harden violin wood before varnishing, as well as the use of vernice bianca (basically whipped egg whites) to act as an interface between the silicate and the varnish.
This article has been nominated as one of the Guild’s best articles published before 2010.
1983
DS#259 BRB1 p.122
Ervin Somogyi
▪ Somogyi wrote this scary little article in 1983, but if you think that the chemicals luthiers encounter have gotten friendlier you better think again. The compounds that have been making people sick for decades are still out there, and regulation doesn’t seem to have made much of an impact. You’ll have to be your own safety cop, and this article is a good place to begin.
This article has been nominated as one of the Guild’s best articles published before 2010.
1983
DS#262 BRB1 p.37 read this article
Ron Lira
▪ How to deal with lacquer in less than one page. Heavy on Sherwin-Williams products and short on details, it is nevertheless interesting for his use of heated lacquer.
1983
GALQ Vol.11#1 p.8 BRB1p.372
Nicholas Von Robison
▪ Robison offers a convincing, multi-pronged philosophical stance for using natural dyestuffs that should lodge firmly among the luthiers that build ancient instruments or see them on their repair bench. Or anyone else who admires subtlety more than bright pizzazz.
1983
DS#249
Paul Wyszkowski
▪ One way of finishing rosewood, for those who prefer a varnish finish to lacquer or don’t have lacquer spray facilities.
1983
DS#236 BRB1 p.210 read this article
Nicholas Von Robison
▪ The dyestuffs are from bugs, flowers, and tree parts. Mordants are chemicals that set the colors and may shift the hue. Dyers’ hip talk is a lot of fun, and the bits of dye history Robison includes add sparkle to a colorful article. Working with these materials could add mountains of snob appeal to a guitar. Rather than describe a three-color ‘burst as yellow/red/brown it might be described as fustic/madder/walnut hull. Be the first on your block to give it a go.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1982
DS#220 BRB1 p.178
Glenn Markel
▪ These are finishing tips picked up while Markel worked at Guild. The best of them involve heating the lacquer and building a stationary buffing wheel.
1982
DS#226 BRB1 p.167 read this article
Louis DeGrazia
▪ Rosin varnishes preceded the varnishes developed by the Cremonese violin masters. Though they are often scorned by experienced luthiers, DeGrazia maintains that the ease with which they can be mixed and applied makes them a good starting point for the budding violin builder.
1982
DS#229 BRB1 p.265 read this article
Lawrence D. Brown
▪ Historically, lute soundboards were left unfinished in order to produce the best sound. However, the raw wood collected dirt at a rate that is unacceptable to contemporary musicians. Brown has found a compromise using lacquer that doesn’t affect the sound production of the instrument.
1982
DS#231
Dick Boak
▪ The C.F. Martin guitar with its 149 year history has had plenty of time and experience to evolve a system of finishing that works.
1981
DS#199 BRB2 p.479
Chris Burt
▪ Horsestail weed makes a natural fine sandpaper. Stradivari used it. So can you.
1981
DS#177
Dennis Humfleet
▪ A fiddle re-finish method.
1980
DS#157 BRB1 p.166
Glenn Markel
▪ Markel offers a simple trick for sealing off instrument ports before finishing.
1980
DS#157 BRB1 p.458
Bill Colgan
▪ Bend a hunk of coat hanger wire and put it in the peghole. And other tips.
1980
DS#160
Ervin Somogyi
▪ A list of the most common chemicals used by luthiers which have a high rating for chemical toxicity, including acetone, benzene, aniline, lacquer thinner, esters, methanol, and paint strippers.
1980
DS#150 BRB1 p.121 read this article
Nicholas Von Robison
▪ Robison insists that as an instrument finish seedlac is superior to shellac in every sense. You never heard of seedlac? Jeez, you better get on the bus! If French polish thrills you but it’s fragility gets up your nose, seedlac could make your day.
This article has been nominated as one of the Guild’s best articles published before 2010.
1980
DS#154 BRB1 p.411 read this article
Ken Cartwright
▪ This solution paints on easily, dries quickly, and is an effective sealer.
1980
DS#136 BRB1 p.213
Peter Estes
▪ Don’t get finish inside your flattop when you spray, use this handy, easy-to-make gizmo. With diagram.
1980
DS#143 LW p.96
Tim Olsen
▪ Finish your guitar, clean off a footprint for the bridge, then glue it on. It’s easy, here’s how. With 1 sketch.
1978
DS#85 BRB1 p.41
Rolfe Gerhardt
▪ That is, setting up the actual spray system from compressor to gun, with additional information about spray room accessories. It’s worth noting that in his update the author (a maker of top quality mandolins) mentions that he has abandoned lacquer in favor of waterborne products.
1978
DS#89 BRB1 p.284 read this article
David Rolfe
▪ Violinmakers can (and do) talk at length about varnish formulas. Rolfe leaves that to others, and instead describes at length the process of getting the varnish onto the instrument with a minimum of fuss and a maximum of cleanliness. Included is a discussion of brushes, rags, rubbing down and polishing materials, drying boxes, and where in your shop to varnish.
This article has been nominated as one of the Guild’s best articles published before 2010.
1978
DS#97 BRB1 p.352 read this article
Jimmie Van
▪ Discusses the advantages of cleaning instruments with lemon oil and resealing the finish with carnauba wax.
1978
DS#73
Paul Estenson
▪ While the traditional French polish method uses shellac and oil, with olive oil as a lubricant, qualasole is a relatively new finish material that is almost complete by itself and also seems more durable than shellac.
1978
DS#64 BRB1 p.373
Harry Coleman
▪ If you’re hurting for space or can’t yet afford a compressor, you may find that spraying with a tank of nitrogen makes sense. You may find that it makes sense no matter what, depending on the volume of your finish work.
1977
DS#55 BRB1 p.36 read this article
Jeffrey R. Elliott
▪ Various chemicals have been used for centuries to color (or de-color) wood. Fiddle makers are hip to tons of these, but Elliott describes a couple that he finds useful on his guitars. He also advocates lubricating tools and work surfaces with carnauba wax, which will not contaminate your wood.
This article has been nominated as one of the Guild’s best articles published before 2010.
1976
DS#24
Tim Olsen
▪ Utilizing 12 gauge plastic coated copper wire to hang an object for spraying with lacquer and other finishes.
1975
DS#8
R.E. Brune
▪ An elaboration on the French polish portion of the finishes data sheet, by popular demand.
1975
DS#12
R.E. Brune
▪ French polishing, after mixing and properly preparing the shellac as per the instructions in the last installment.
1974
DS#3 read this article
R.E. Brune
▪ As a hobby, Brune has collected many obscure and archaic recipies for varnishes and other potions, which he discusses here.