A bookmatched maple top glued and clamped up.
The type of glue a builder uses can make a big difference in their process, but when it comes to tone, does it matter?
Guitarists searching for their ultimate instrument are an interesting bunch. So many factors to consider, so much energy to expend on the journey towards guitar nirvana. A player may be satisfied with a certain shape—like a Flying V or Explorer. Others are obsessed with pickups, hardware, fretboard radius, scale length, or fret size. I’d venture that most of us consider a lot of these things and more when choosing a guitar. But there is a certain place in my heart for those infatuated with the type of glue used to construct a potential purchase. Don’t get me wrong, I’m not listening to Ford Thurston and thinking what he needs is a little more hide glue in his tone, but somebody might be. This obsession probably stems from the mythology of vintage instruments more than any sonic observations.
Instrument makers have used animal-based glues for centuries, mainly because it was all that was available. Adhesives can be made from a variety of animal remains: bones, hooves, hides (skins), and even fish parts. These organic items are basically proteins that can be boiled down to a gel-like substance which, when heated, becomes sticky, spreadable, and can be used to bond a wide range of materials, including wood. For this discussion, I’ll refer to all of these as hide glues.
Woodworkers used hide glues almost exclusively until the middle of the 20th century, when synthetic glues became available. Adhesives such as PVA (polyvinyl acetate) are sometimes referred to as yellow or white glue. Over time, and as instrument building became more of an industry as opposed to a boutique craft, PVA became the standard in large-scale commercial instrument manufacturing.
Industrial PVA glues dry quickly, are extremely shock resistant, and do not require heat. They have nearly no odor, and they can be stored ready to use for long periods of time. They are also incredibly strong. Unlike hide glue, which requires a precise parts fit, PVA is gap-filling which is great for factory tolerances. PVA’s setup time is short, and under some circumstances, clamps can be removed in as little as an hour. That certainly allows more production to flow through a factory or shop.
“Hide glue is very brittle when cured, which has led some to say that it encourages the transmission of vibration from part to part.”
On the other hand, hide glues need to be warmed in a heat pot to around 140° F, and have a shorter shelf life at room temperature. Although some builders learn to love the smell of hide glues, others find it revolting. I don’t mind the smell, but some don’t want the “dead animal” smell on their clothes. Hide glue can also have a shorter “open” time before it locks up, which doesn’t allow for much adjustment to parts during assembly. Additionally, once clamped, hide glue needs to remain so for much longer—most shops let it dry at least overnight.
I believe that a lot of the mystique stems from old-school repair people who would prefer to work on older instruments constructed with hide glues, which are easier to disassemble. A distinct advantage is that unlike PVA, epoxies, and superglues, hide glue can be easily loosened for repair with heat and water. That’s a real bonus for shops that specialize in neck resets, fretboard replacements, and all manner of acoustic guitar repair. Old hide glue can be successfully removed from a joint and new glue can be applied for a repair—as the new glue will bond directly to old glue.
Another characteristic of hide glue is its self-clamping action when the fit of parts is very tight to begin with. The glue pulls parts together as it dries and can be good for jobs like book-matching tops and backs—even without clamps. Hide glue is very brittle when cured, which has led some to say that it encourages the transmission of vibration from part to part. This, along with the tight fit aspect, may be the primary source of the “hide glue is better” sentiments that get repeated as gospel in some circles. Of course, if you leave your hide-glued guitar in a car trunk on a hot summer day, you may regret it as much as the repair shop loves it.
As you can see, there are a lot of benefits to each of these glue types, and I haven’t even gotten into any discussion about epoxies or superglues, which are being used more and more frequently today, along with so-called hybrid hide glues. The question remains, is the adhesive used in building a guitar a deal-breaker? As much as I admire instruments built with old-school glues, I’m not sure Ford Thurston or I could hear the difference. And if that particular guitar does sound wonderful, I couldn’t say it was because of the glue. Besides, with its 1-piece neck and four-screw neck joint, a Stratocaster doesn’t have use for a lot of glue anyway.
Luthier Maegen Wells recalls the moment she fell in love with the archtop and how it changed her world.
The archtop guitar is one of the greatest loves of my life, and over time it’s become clear that our tale is perhaps an unlikely one. I showed up late to the archtop party, and it took a while to realize our pairing was atypical. I had no idea that I had fallen head-over-heels in love with everything about what’s commonly perceived as a “jazz guitar.” No clue whatsoever. And, to be honest, I kind of miss those days. But one can only hear the question, “Why do you want to build jazz guitars if you don’t play jazz?” so many times before starting to wonder what the hell everyone’s talking about.
Contrary to popular belief, archtop guitars have the potential to be some of the most versatile on the planet. Yet a huge corner of the music world insists on keeping them in a straitjacket. What’s up with that? Even as a little-girl player, I always felt archtops were the most beautiful guitars of them all. So beautiful that they were untouchable. I didn’t need someone to tell me I didn’t play the “right kind of music” to feel unworthy of them. But the word on the street was that archtops were meant for a very particular and sophisticated style of music.
This is not the guitar for you. I believed it. I could feel it. I am not worthy. Instead, I picked up an OM and headed down a very different musical path in life. Tying down the restraints not only on the archtop, but myself. Does this sound familiar?
This is not what music and guitars should do to us. So, who put this straitjacket on? Did I put it on myself? Did I put the archtop guitar in one? Are there others?! Help! How did this happen? I spent the next 11 years walking around in a singer/songwriter straitjacket. It wasn’t until I showed up at the Galloup School of Guitar Building and Repair that I was able to bust out of that thing with some chisels and gouges. It was there that I got my first glimpse at the archtop party.
The first private moment I had with my completed archtop, I was stunned to silence. My soul shifted, and there a song was found hiding—my very first instrumental fingerstyle piece.
My intentions were to be a flattop builder, but I was changed forever when my archtop construction began. Enthralled by the versatility of skills the process demanded, the woodworker in me was ignited. The experience of building a variety of guitars was why I wanted to take the Galloup Masters Program. With that came the experience of playing a variety of guitars that I normally would not play,which was equally educational and life changing—something that has now become essential to my musical inspiration.
The first private moment I had with my completed archtop, I was stunned to silence. My soul shifted, and there a song was found hiding—my very first instrumental fingerstyle piece. I was so hypnotized by the voice of this guitar that it launched me in a completely different musical direction. I did not sing another note for almost 7 years; this instrument’s voice was the only one I wanted to hear. It was everything I’ve ever wanted: acoustic, electric, sensitive, powerful, delicate, strong. Our love was effortless, and it found music living inside of me that I had no idea existed. Isn’t that what it’s all about?
I share this dusty story with you today because I know I’m not alone. There are others out there who have allowed the restraints to come between them and these remarkable instruments. Because at some point along the way, they were told they’re not supposed to do that with an archtop. I hear this all of the time. Whatever happened to just picking up a guitar, closing your eyes, and letting it pull something out of you? I’m not at all denying the fact that certain instruments excel with certain genres and styles of playing, but we can’t let that prevent us from exploring the things we’re curious about.You could be missing out on one of the great loves of your life.
I almost missed out on the archtop party, but thankfully I came in through the woodshop window. And I have good news: The others at this party are on a similar mission to free the archtop from its straitjacket. Not to mention, the music at this party is off the hook. Is there jazz? YES! But that’s not all—we have fingerstyle, honky-tonk, funk, blues, rock, weird space music, and everything else you’re not supposed to do on an archtop. With today’s premier archtop builders such as Danny Koentopp, Tim Frick, Wyatt Wilkie, LHT, Otto D’Ambrosio, or Retrograde, just to name a few, there is undoubtedly something for everyone to be inspired by.
This is your official invitation to the archtop party. Leave your straitjacket at the door and join us, ’cause an archtop party don’t stop.
Students at the O’Brien Guitars school bind their instruments following a more traditional European style of guitar making.
Finding the right school can be tough for any aspiring luthier. Here are some options to consider.
In my previous column, “So, You Want to Be a Luthier?”, I talked about the types of people attracted to lutherie training programs, some of the possibilities and options these individuals have at their disposal, and discussed both long-term and short-term training, either of which have their place for primary or supplemental training. But the question remains, what school should you choose for your lutherie training? And what might a school have to offer that would best suit your educational needs?
Here’s some good news: While the guitar itself is of European ancestry, since we are a guitar-crazy culture, many of the premier schools for fretted musical instrument making and repair are right here in the United States. In fact, many international students travel to the U.S. to learn here and typically comprise up to one third of our student body.
With all schools, there’s not one that will check every box and perfectly meet everyone’s criteria. Students have different learning styles and personalities that flourish in various types of training programs. For example, my school, the Galloup School of Guitar Building and Repair, focuses on hands-on training to make sure students leave with a premium amount of time physically building and converging with musical instruments. But for some, this type of training may not be as flexible as they would like. So, let’s look at some of the options available in the world of lutherie schools.
Short-term training is geared toward students who want to quickly advance their skills and resumé in a reasonable timeline. At Galloup, we do offer short-term training, but it primarily focuses on bread-and-butter skills and problems that are commonly encountered in guitar repair and restoration. Additionally, the Galloup School has been authorized by Taylor Guitars as a Silver and Silver Plus Level Warranty Certification training facility. However, Galloup does not offer short-term training for guitar making.
Students have different learning styles and personalities that flourish in various types of training programs.
For those looking to build a guitar in a short amount of time, one of the most established short-term programs is the American School of Lutherie, operated by Charles Fox in Portland, Oregon. This is an incredibly well-balanced program focusing on the quality construction of a flattop steel-string and an electric guitar. Another great program is operated by Robert O’Brien in Parker, Colorado. O’Brien Guitars offers an all-hands-on-deck operation wherein students build a flattop instrument in roughly one week. For short-term archtop guitar training, Dale Unger at the Nazareth Guitar Institute does a great job. Students move through building 17" L5-style archtops to completion in the white (no finish applied) in one week. I’ve spoken to many students who’ve taken Dale’s class and they were more than happy with the experience. These are great options since they’re short and the training style is typically more personalized.
Long-term training, on the other hand, is a completely different situation, where classes can range from a few months in a private trade school to two years in an accredited college-based program. At Galloup, we offer long-term training that can extend to more than 2,000 training hours if a student wants to take all classes available. But although we are a licensed private trade school, we are a non-accredited program. So, as with all non-accredited programs, students must finance it themselves or secure a loan through a private lending institution.
Minnesota State College’s Guitar Repair and Building program in Red Wing, Minnesota—often called the “Red Wing school”—is a great example of a two-year, college-level course of study. Another medium to long-term option is the Roberto-Venn School of Luthiery in Phoenix, Arizona. To my knowledge, it’s the longest-running lutherie program in the United States, and it has produced many fine luthiers over the years. Roberto-Venn offers an 880-clock-hour program that allows students to take part in more of the design elements of guitar making. With both Red Wing and the Roberto-Venn schools, their accredited backing makes it easier to secure financial aid for those in need of assistance.
There is no one right answer. It’s up to the individual to determine what school and curriculum best meets their needs and financial preferences. In fact, many students choose to attend multiple programs to fulfill their education requirements.
For a full list of lutherie classes offered worldwide, you can check the Guild of American Luthiers at https://luth.org/resources/lutherie-schools/lutherie-schools-usa/. Not only do they offer a full listing, but the Guild is also a great source of information for inspiring luthiers.