I don't really see what hide glue and laminated bridges have to do with historical temperaments? This isn't a bunch of ultra-conservative dogma from someone on a "glue crusade", if that was the implication/slur/joke intended. OK...in making historical reproductions there is no choice for glue. You have to use hide glue. Anything else would be unprofessional and a-historical. But that has nothing to do with why I don't use other glues. Hide glue is simply the best product for most woodworking in the small shop, whether modern or historical. It is simple and effective when used properly. It doesn't creep. It is easy to clamp. It is totally benign. It is cheap. Hence I still ask why would you want to use anything else? I don't buy any of Ron's objections for that bridge job. Of course, the bottom line is don't use hide glue if you prefer yellow plastic glue, but you can't justify that decision by pretending that hide glue is inadequate for the job. A laminated bridge, even one with ten layers, is kid's stuff compared to making the laminated framing of a big Viennese piano. My suggestion is to learn how to use the product properly, then make a properly informed decision. Trouble is the nonsense that is endlessly propagated, like the recent article in FWW...you follow that, it's all wrong, so you blame the hide glue and get out the yellow stuff. Come to my class and I'll show you the right way. We aren't making industrial sheets of plywood here. That is why modern glues were developed and what they are good for. In fact they are better for most industrial applications. But hide glue still rules in the small shop. Stephen Stephen Birkett Fortepianos Authentic Reproductions of 18th and 19th Century Pianos 464 Winchester Drive Waterloo, Ontario Canada N2T 1K5 tel: 519-885-2228 email: sbirkett@uoguelph.ca
This PTG archive page provided courtesy of Moy Piano Service, LLC