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.
Linda Manzer (right) and Maegen Wells play one of the guitars assembled in the “Nickel Wound Chef” competition at Fretboard Summit 2022.
After several years away, luthiers and enthusiasts gathered across the country in 2022. Here’s how it went down.
After two years of being locked up in our shops, guitar makers everywhere were eager to be reunited in 2022, when many beloved industry events returned. These guitar shows allow qualifying luthiers to showcase their work and connect with players and buyers. More importantly, they’re a wonderful opportunity for the guitar-building community to come together, and I couldn’t wait to see what my friends had been gluing up.
If you’re a guitar lover, attending any of these events is like walking into a dream world. The air is filled with the same passion, love, and excitement that went into building the instruments on display. It’s a contagious energy that hits you the moment you walk into the room. For us builders, these weekends are filled with life-validating moments as we get to hear our creations come to life in the hands of so many players and admirers. After investing hundreds of hours into each guitar, I can assure you there is no better feeling on the planet than watching someone fall in love with their next musical companion. This symbiotic inspiration becomes the pulse of these events, and a poignant reminder for both builders and players to keep following these crazy dreams.
Here’s a glimpse into some of the most inspirational guitar shows of 2022: the Artisan Guitar Show, Fretboard Summit, and Rocky Mountain Archtop Festival.
After investing hundreds of hours into each guitar, I can assure you there is no better feeling on the planet than watching someone fall in love with their next musical companion.
The first reunion was in April at the Artisan Guitar Show in Harrisburg, Pennsylvania. The AGS takes place in a large and elegant conference room of a very nice hotel, and perfectly walks the line of being a classy yet comfortable show. With 50-plus guitar makers displaying, this show does an excellent job of representing different styles and variations of the guitar. The result was one of the most dynamic and balanced showcases of handmade guitars that I’ve ever seen, and the quality of work was top shelf all across the show. It had everything: archtops, flattops, semi-hollow electrics, solidbodies, and beyond. It was a true guitar lovers show. The variety of guitars and music I get to experience inspires me more than anything, which is why this show is one of my all-time favorites.
All summer long, everyone was buzzing about the return of the Fretboard Summit, which took place at the legendary Old Town School of Folk Music in Chicago, Illinois. It was a jam-packed weekend with lectures, workshops, and performances from the very best, such as luthier TJ Thompson and mandolinist Sierra Hull. This time, they decided to throw a handmade guitar show into the mix. So, after the Molly Tuttle workshop, you could wander over to the luthier’s display, and actually get your hands on some Preston Thompson Guitars. There was even a competition held in front of a live audience and a panel of judges, where luthiers Creston Lea and Duncan Price raced to assemble an electric guitar kit in one hour. It was the perfect combination of genius and madness, and something that would only go down at the Fretboard Summit.
The grand finale was September’s Rocky Mountain Archtop Festival hosted by Henriksen Amplifiers in Arvada, Colorado. For one weekend in September, some of the best archtop builders and players in the world assembled to celebrate this enigmatic instrument. More than 30 builders had archtops on display, and the archtop goodness literally spilled out of the showroom and into the lobby of a very lovely and accommodating Hilton. It was there you would find guitar legends Jimmy Bruno and Frank Vignola casually leading some of the most face-melting jam sessions you’ve ever witnessed. The energy at the show reached an all-time high as the Chinery Blue Guitar Collection—22 instruments built by some of the most prominent luthiers in the archtop world, curated by collector Scott Chinery—was revealed in a stunningly powerful display. To be in the presence of so much great history and beauty was emotional and inspiring for everyone at the archtop party. But it didn’t stop there. This infectious energy spread throughout all of Arvada. That evening, the town’s water tower lit up with blue lights in honor of this iconic collection and the magical weekend surrounding it. It was pure bliss. It was pure archtop.
That’s a wrap on 2022! From coast to coast, it was an epic reunion for guitar lovers and builders everywhere with the most successful show circuit I’ve experienced in over a decade. Filled with music, inspiration, and some pretty great memories, guitar builders are now tucked back into their workshops with their wood and glue, preparing for next year’s season of guitar shows. I invite you to come check out what my friends and I have been gluing together at any one of these exceptional events in 2023!
But Glenn Nichols still wouldn’t turn down a time machine to get one of his stunning Retrograde Guitars into the late bluesman’s hands.