This is, of course, largely a group of earl music enthusiasts. The earlier charangos tended to favor a more vertebrate-based bowl construction. I have no idea at what temperature armadillo hide begins to break down...I don't think I want to find out.
Eeew, Eugene At 04:32 AM 8/11/2004, bill wrote: >of course, one can side-step the dilemma altogether by simply switching >to a charango - made from one, solid piece of wood - and reduce the >number of constitute parts to your instrument requiring glue. > >hola! - bill > > >On Mercoled�, ago 11, 2004, at 06:44 Europe/Rome, Jon Murphy wrote: > > > Agree with all on the glues, the creep can be a problem with the newer > > glues - but as has been said before the "heat breakdown" does make it > > easier > > to repair and instrument. But when you really get down to it, how in > > the > > hell are you going to allow your instrument to reach 200 degrees? > > (I've made > > that mistake with a harp, and fixed it, but never again). Two hundred > > degrees (which can be reached rather quickly in a closed car in the > > summer > > sun) would kill your cat, dog or toddler. Are you going to subject > > your > > instrument to such temperatures. > > > > I make golf clubs (among other things), and use an epoxy that breaks > > down at > > about 220 degrees (but they don't absorb the ambient temperature as > > quickly > > as wooden instruments). The choice of the glue comes from the need to > > break > > down the joint to replace a broken shaft, and not need to overheat the > > club > > head. BTW, I use a "heat gun" that produces 500 degrees or 1200 > > degrees, but > > don't use it too closely - so as not to melt the graphite - it is a > > bit of > > an art to get it right. > > > > Best, Jon > > > > > >
