My neighbor has an old parlor guitar that he asked me to clean up after years in storage. Inside the sound hole it reads “The American No. 5” and there is no other identifying script. The bridge is a pyramid-type. We’re curious about its age and manufacturer; I’m guessing Lyon and Healy from the 1920s. – Chuck Risser
In the late 19th and early 20th century, there were all sorts of guitar makers in New York and Chicago who contracted with distributors like Buegeleisen & Jacobson, CMI, and Targ & Dinner. I thought this might be an Oscar Schmidt, but I asked guitar/amp historian Mike Newton, who pointed out two odd things: 1) It’s very plain yet has a pin bridge from a time when almost all plain guitars had trapeze tails and floating bridges; 2) There are no fretboard position markers when practically all inexpensive guitars had at least three dots.
Mike’s guess is it dates from the 1890s to pre-1910, which sounds plausible because, by the ’20s, guitar bodies were getting larger and fuller-shaped. – Michael Wright
Lyon & Healey used the brand American Conservatory in the early 1900s, while Bruno had a line called American circa 1910 (and possibly earlier), but neither listed a model No. 5, though they might also have have used that earlier. Because it’s so plain, it’s difficult to track details, but it’s a lower-end/beginner instrument likely made by a jobber and branded by whoever sold it. – Peter Stuart Kohman
I’ve always wondered about the real-life differences in sound and feel between a solidbody guitar with a one-piece body and one that is laminated. For that matter, how about laminated necks versus one-piece necks? – John Mackey
I don’t think feel has much, if anything, to do with a one-piece body or neck. However, sound quality is different in solid wood compared to laminated wood, though that difference is subjective.
Many modern guitar builders use machines to test woods for sound transfer, and while they show differences between solid and laminate, they’re not as overtly audible as the differences between wood types. – Dan Erlewine
I’ve learned so much from Dan Erlewine’s “Guitar Rx” column over the years that I’ve become confident enough to take on certain repairs. I’ve seen him use a variety of glues and often wonder how many types he keeps at hand, and which are used for specific tasks. – Nate Scott
I use a number of glues, which I gathered to give you a look. Those I use most are in the middle row:
- Titebond Original Wood Glue, a standby in every repair shop that can be used for wood-to-wood repair or building.
- Behlen Ground Hide Glue, which is dried and granulated. You put the granules in a jar, add water, and heat it into a liquid. Hot hide glue is my choice on all structural repair and building when I can accomplish the task within one or two minutes. Typical uses are neck resets, fretboard and bridge repair, crack splints, bridge pads, peghead overlays, and frets. It cleans up with water, which is a big plus.
- Glueboost accelerator speeds up super glue drying time of its matched superglues (in front).
- Fish Glue Luthier’s Adhesive is used like hot hide glue for repairs that I can’t work fast enough. Like hide glue, it dissolves in water and will rejuvenate glue areas that were previously bonded by hide glue.
- Titebond Ultimate Wood Glue is a stronger version that allows more work time before it starts to set.
- Titebond Genuine Hide Glue is pre-mixed and good for certain tasks.
- Zap Canopy Glue Formula 560 is used in model making and is excellent for gluing plastic binding to wood. It cleans up with water.
- Bind-All Guitar Binding Glue is StewMac’s solvent-based glue. I use it on binding repairs because it’s strong, melts the plastic, and sets quickly. Being a solvent (which melts plastic), it’s better for the experienced user.
In front: - Glueboost superglues are made in several viscosities, basic colors (black, white, grey), and in the squeeze tube is a thick gel glue. Understanding what each is best for requires trial and error, but I use all of them every day.
In back: - System Three Silvertip Epoxy is one of several long-cure epoxies I like. It sets faster than others, dries very hard, and is crystal-clear once dry.
- West System 105 Epoxy Resin is another favorite glue of all of the luthiers I know.
- RBC Epoxy Resin and Hardener are mixed to create a clear, hard epoxy. – Dan Erlewine
This column addresses questions about guitar-related subjects, ranging from songs, albums, and musicians to the minutiae of instrument builds, manufacturers, and the collectible market. Questions can be sent to ward@vintageguitar.com with “VG Q&A” in the subject line.
This article originally appeared in VG’s March 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
