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#47
03-09-2018, 10:55 AM
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My favorite guitar builder says it makes a difference. That's enough for me.
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My YouTube Page 
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#48
03-09-2018, 10:56 AM
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In reference to posts of this nature - I’m having a very hard time believing you are actually hoping for anything other than a flurry of activity you can logon to watch - kind of like throwing an open loaf of bread into the middle of 100 seagulls.
I hope some of these insights from posts to your thread have helped: “I think it's entirely possible” “it might” “Who knows?” “I think all things being equal…” “The theory is…” “…hide glue or fish glue builds a 3% or 5% better guitar…” (phew! - glad it’s not 1% or 2% because that would be ridiculous) “Not as much as Unicorn horn nut and saddle” (Most cogent reply considering some of the others)
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#49
03-09-2018, 11:04 AM
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I am always seeking out the opinions of those with more experience and I've seen it go both ways on this one. Bruce obviously see's a big difference but having just read Trevor Gore's book, he doesn't. So in the end it's back to square one.
In fact when I started using HHG a couple years ago after doing exhausting research on it and various opinions, including Bruce's, convinced me to at least give it a try. What I found was a) it's no where near as difficult to use as what I perceived from hearing stories online and b) I didn't notice a difference in tone  But I like it none the less and I've only made about 10-ish guitars using it so with time comes more experience.
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#50
03-09-2018, 11:15 AM
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...my conclusion is that hhg is a factor in the tone of my favorite guitars...that's just based on my personal experience...I have only one modern era guitar built with hhg...(though I have played others)....that guitar, a Santa Cruz OM, exhibits the same kind of focus and clarity that I notice in the vintage instruments that I own and have owned in the past...the window washing comparison Bruce offered up describes it nicely I think...
...I've owned other Santa Cruz guitars as well as other guitars of similar quality and while all were fine instruments none had the same kind of response that I experience with the hhg OM and vintage guitars I have owned...and it's not hard for me to feel and hear the difference....but is it better??....I like it better...still it's easy to understand while others could care less given the sheer numbers of outstanding guitars that are not built with it... Last edited by J Patrick; 03-10-2018 at 05:04 AM.
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#51
03-09-2018, 11:29 AM
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Quote:
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#52
03-09-2018, 11:32 AM
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Dried gelatin is stable indefinitely. The company that I made my profession in, manufacturing gelatin, which HHG is made from, has qualities of gelatin that is forty years old. We have several labs for different types of tests and experimentation. Once gelatin is dried and kept dry it doesn't change. We know this because of the extensive records and testing that we have always maintained. Note the largest users of gelatin are the pharmaceutical companies. The capsules that your medicine is in is made of gelatin. So you could say you are ingesting glue
__________________
Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road
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#54
03-09-2018, 12:16 PM
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Thanks for re-posting that study by Frank Sanns. I don't always agree with him, but then again I don't always agree with everything I've ever said, either. That one does make sense.
I suspect that the difference between two 'identical' guitars, one made with HHG and the other with T1, would be about as great as the difference between any two 'identical' guitars. It would really be hard to say what caused it. The repairability issue pertains to more than just bridges. Titebond and it's ilk don't self-adhere very well. If a Titebond joint comes loose you can't just throw some more glue in there and expect it to stick as well as the original joint did, and remember; it already came apart. To do it right you need to clean all of the old glue off, from both surfaces. With hide glue that's easy, if you even need to: warm water will do it. Not so with Titebond; you've got to scrape it off, and you'll remove some wood in the process. When you're replacing a bridge that's not so much a problem, so long as you don't , materially reduce the top thickness in the process. When a brace pops loose you're up the creek with anything other than hide glue. Don't even try to argue this point on any serious violin forum. Then again, don't try to talk about varnish there, either. 
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#55
03-09-2018, 12:21 PM
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Does hide glue make a difference in tone, you ask.
Well, it depends at what time of the night you are playing it and how big the sliver of the moon is and where it appears in the sky at the time of playing. Of course you need the right song to go with the sliver of moon so they perfectly match each other. 
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#57
03-09-2018, 12:59 PM
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Can we guess the next thread that gets started? ...Baked/Torrified tops versus non baked? LOL
All so subjective, but the sum of the parts of these components (Hide glue, baked top (Martin VTS), and Herringbone Purfling certainly are wonderful on the Martin Outlaw 17 I recently got. It is arguably the best acoustic guitar I've ever had. But maybe its just a great Martin Hod/Adi Dread with excellent woods, bracing and construction. Either way, I have an instrument that inspires me and makes me smile.
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Martin DC-18E (Ambertone) Martin HDC-28E Martin D-18 (2015) Collings D1 Traditional Emerald X20 Fender CS '63 Telecaster Custom Collings I-35LCV Collings I-30LC Collings 290 www.heartsoulaz.com
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#59
03-09-2018, 01:02 PM
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Chris Martin said that, when they were working on the D-18 Authentic prototypes, they built one with hide glue and one without. The one they judged superior was with hide glue. Of course an authentic wouldn't be very authentic if it didn't have hide glue.
Doug
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#60
03-09-2018, 01:11 PM
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