Sweat on nitro will possible cause haze? Really?

[Kerry Krishna]

 How out of it am I that this was even a possibility? If the guitar has never seen wax, and there is base were someone's belly has been touching AND taking it for granted that it is not DEET, what do you think or know? Thanks Folks!

[Paul Breen]

Absolutely! Bellies sweat too. However, not everyone's sweat will react the same, depends on your personal PH levels.

I have one guy I do work for and he could wear a super hero costume and be called Acid Man. He corrodes metals and is extremely hard on nitro finishes. His band mate bought a used ES 125 and let this guy play it out on a gig for one set. The finish on the neck was completely attacked by sweat and you could roll it off in little pills. Once a lacquer finish is compromised this badly, it cannot be reversed and it will remain soft.

I have a couple of regulars with this problem and always lecture them to wash before playing and at breaks. Also to wipe the instrument down afterwards and NOT put it up wet. Folks don't realize that if you close a sweated up finish in a case, you have just created a mini eco system inside a closed space. Screw heads and other hardware that you may not even come into contact with during play will corrode and they scratch their heads wondering why.

I wear a long sleeve shirt if I'm playing any of my good guitars when it's sweaty hot and the towel I keep in my case gets used to wipe contact places frequently. The hazing you see is moisture getting into the finish and not necessarily damaging the lacquer. If you do good house keeping, during and after playing you should be able to keep the finish from absorbing too much sweat funk and going soft. If the finish is soft where you sweat on it or you can rub bits of it off with your finger, it's too late.

Bug spray will attack the finish too and probably some of the hand lotions people like to use.

[Russell Vance]

Umm, tough one:   Everybody has got a few customers with blood and sweat types that would put the critter in "Alien" to shame - they just have to walk past a string packet to corrode it and their stoptails and hardware look like a Ford that has been parked by the beach for a couple of years.  But, sweat is the thing here and it's going to have to be a guess.

What I know:   Nitro is not an impervious moisture base and forms no real barrier to water vapor. Consequently sweat which is water, salt, base blood chemicals such as copper and alcohol, and general dissolved grime along with suntan lotion (California) and string lube will travel through and maybe remain or be absorbed into the finish.   I'm no chemist but none of that sounds good for our nitro finish.

The proofs:   We have refurbed a couple of white/creme Les Pauls in the past that had turned pink where the players red shirt (and one blue I recall) had come in contact and the dye coupled with the sweat had actually gone down into the finish to the extent that the finish was compromised and needed scraping to remove the "tint".   That I know:   why we see red and blue only and not any other color is a mystery but it happened.  

This gives us the proof that nitro absorbs stuff and I suppose that sweat is no exception.   Also, for some reason 335's and the semi hollows seem to have a proclivity for soft gummy finishes - and wax combined with sweat and the stuff in cigarette smoke seem to be a likely suspect.

Rusty. 

[Kerry Krishna]

Thanks folks. That is what I needed. Now to go apologize on a thread on Collings Forum... 

[LARRY KLOSE]

I did setups on a couple of instruments owned by a teacher of mine and on both the nitro finish on the back of the necks was so soft that it was gummy--sticky as though something like strawberry preserves had recently been spread around on the necks.  No amount of buffing or rubbing had much effect, although I guess I could have buffed all of the finish off the necks and created "speed necks."  Like Russel says, some folks just have corrosive sweat.

I used to avoid having this guy ever use one of my axes to demonstrate anything he was teaching me because invariably, he would hand it back with dead strings, even if new.  This was before the coated strings era, so maybe now it would take a couple of days longer.  Nice guy, great teacher but a chemical nightmare.  If I was advising him on a new instrument or a refinish, I'd recommend catalyzed finish.

A luthier I met in Sao Paulo, Brazil explained to me that he didn't do French Polish for customers any more--he used catalyzed finish.  The reason was that the RH in that area is always ~70% and he couldn't keep his customer's instrument finish in any kind of decent condition with FP or Nitro.  I have one of his instruments and it remains one of the cleanest I own after 14 years and it sounds fine.  So that may a solution when building for those who rub things the wrong way.

When I was quite a bit younger sweat from my bare left arm would soften the finish on the lower bass bout of my guitar, although it would eventually dry out if left alone.  I could also use up a new set of strings in about a week.  Since I've aged, my chemistry has apparently changed since I now go months before changing strings and there's no more top damage.  One of the few benefits of advancing age, maybe?

Larry

[Steve Bettesworth]

I read somewhere that the late, great Rory Gallagher's sweat was almost corrosive to the finish of his guitar. If you look at the condition of his stratocaster you might come to the same conclusion. 

Steve

[Peter Poyser]

Quote: "Now to go apologize on a thread on Collings Forum..." 

 

 

Kerry!

Congratulations on your first class attitude.

Although I know nothing of what is behind the need to apologise..

Your comments clearly demonstrate you to be a Classy Guy, the type of individual that has Big Heart.

We all make mistakes in life at some point, but realising our mistakes and being man enough to openly admit them, is a pivotally important.

Its where we truly learn and strongly benefit from our mistakes, earn or regain the respect of everybody involved quite regardless of being mistaken, and importantly for Fora in general, set a much needed, shining example of how the folks should behave on the Internet.

 

 

Whilst on that Subject.

It's Wonderful to see a post by Paul Verticchio in another thread after an all too long absence.

When people lack respect, are rude, difficult or simply don't get the answer they want they often take it out on the messenger.

We then can all too easily lose our very Finest Contributors, of which I have repeatedly noted, Paul to be one of the Very Best and Most Helpful of Everyone.

Sometimes, it's the case that a thread has been opened, and the only way it can be answered by anyone is by actually asking a  whole shed load of additional questions, before you even know where to begin.

Cryptically, but politely explaining that to someone who posts a new thread sometimes gets a helpful messenger no less than a verbal onslaught from the impatient and inexperienced, who imagine they know everything but have actually achieved nothing, as yet. As our great asset of knowledge and experience, Rusty found out earlier helping someone intent on Fabricating an Obscure Instrument, from Waste Material he got for free a while back.  The internet can indeed be a minefield.

 

 

Kerry.

Your Post speaks Volumes.

As no such admission is easy, I think your post is priceless!

In an earlier post I explained an occasion where I had used poor judgement, and messed up somewhat, in my early years.

Sometimes I find myself stood in front of a large group of  people who I want to get animated and involved in discussion, but find that they remind me of an Arctic River.

 

They sit there, frozen at the mouth!

 

So how often I get them to open up, is to tell them about something I am currently struggling with. 

Explain some problem I have been grappling with. Admit to some kind of error of judgment or failure and its all its exasperations.

Suddenly. In the sharing of our common weakness and frailties, masks of brilliance and delusions of seeming perfection are completely swept away. We find a common empathy and understanding that forms a truthful basis for mutual respect, and the gathering is free to speak, openly and honestly.

Another way I get them to open up, especially if they involve senior (in position) people from a range  of different countries, is to write a song with a lyric about everything we have been working on and learning, put that to a well known popular song and get them to sing it together, different groups taking various musical parts. It sounds crazy but its a great leveller, equalises everybody whatever their status, they have lots of fun and completely lose their fundamental inhibitions.

I have seen Senior Corporate Management types meet again two years after such events and instead of shaking hands, they look at each other, spontaneously point and simultaneously say the oft repeated hook, and "catch line" of the Song they had so much with, laughing at themselves and with each other in these Sessions.

It's really all about lowering those defensive walls of pride and protection we all have built around  ourselves, and revealing the absolute wonder of the authentic individual, hiding behind that wall. We each have so much potential, whoever we are.

It's like a voyage of discovery where people  suddenly have permission to be fully the genuine best of themselves. Instead of appearing as another, Cloned, Corporate Cipher.

It's a great substitution for the brain numbing world of political correctness such people invariably inhabit.

 

 

Quote: "I used to avoid having this guy ever use one of my axes to demonstrate anything he was teaching me because invariably, he would hand it back with dead strings, even if new."

 

 

There are a great many, very good reasons never to allow, other people play your Instruments.

Friendly camaraderie and shared enthusiasm amongst guitar enthusiasts is of course something we all like and would heartily encourage, the problem is how to enjoy the shared interest, without your Guitar suffering negatively, as a result.

It can be a too high a price to pay, but the relationships involved, tricky thing to negotiate. Generally for me, they are a few well known "Artists" that I have allowed play the odd Instrument here and there behind a Famous Stage, and they too have paid me the same compliment of discovery and trust.  

One memorable occasion afforded the opportunity to play a Rare, Seven String Classical Guitar fabricated for Playing Bach as best I recall, from the late, great, David Rubio's Workshop.

http://www.luth.org/memoriams/mem_david-rubio.html

 

 

As a general rule however, unless you know the people well, it's a big mistake to imagine others will take the same care of your Instrument, as if they had paid for it themselves.

More importantly still, it's a big mistake to imagine the most Guitar Owners, even know how to properly handle and care for Guitars, even if they have Played for years, and give the impression that in their own minds, they know All there is to Know about Guitars.

With complete respect, my honest experience is that the Average Guitarist  is incapable of opening or closing the lid of a Guitar Case to remove or replace it, without there being a high probability of them managing at some point in their lives to cosmetically damage the Instrument.

Not only are they unaware of the potential dangers. Their complete lack of focus on what they are currently doing, and their propensity to talk to others whilst attempting to do it following a gig, almost guarantees that a badly Damaged Guitar, will often be the completely predictable, utterly inevitable result.

Some people are precious about their Instruments, others apparently seem to care precious little for them. I think it's best to clearly determine which you are, and develop Reasonable Strategies that can command respect, that mean without causing offence, you can ensure your Fine Instrument and Disparate Eager Enthusiasts, desperate to try them out, never actually, physically come together.

 

 

In regard to the issue of Hazy Sweat it's very likely to become an issue increasing encountered.

Good Guitar Makers like CF Martin, Bob Taylor will be likely to have some Instruments that are likely to affected in this way.

Electrostatic Robotic Sprayers that apply the Finish, typically utilise expensive Titanium Rotary "Bells" that spin many thousands of times a minute driven by a Turbine, to Atomise the Material giving a Fine Circular Pattern that the Robot can oscillate across the Instrument in a Pre-Programmed Manner.

This Program can also adjust the Even Flow of Material to a very fine degree indeed, so that although there is enough Finish to provide the Quality they desire, there is no more Finish used, than is absolutely necessary. We must consider that for High Volume Manufacturers, the Cost of Raw Materials is huge and very important indeed adding to their margin of profit.

 

 

Manufacturers will merchandise the vibration enhancing effects of the Thin Finish.

Making much of how the Sound of the Instrument is Tonally Improved by this type of Finish, is a genuinely and commonly held perception.

However, they probably won't say how much they save monetarily or directly profit by a cost saving in the better, more efficient method of Finish Application.  Finishing Materials in High Quantities, can amount to an immense Annual Sum for a  Large Manufacturer.

By the way, that isn't in any way meant as a criticism of  Martin or Taylor both of whom I have lots of respect for or indeed anyone else who makes Guitars. I'm just trying to Highlight the fact that Large Capital Investment  in Technological Improvement within Major Factories has brought changes, to the Instruments Finish that many people have perhaps never fully considered.

 

 

Because these Finishes are so thin.

Rather than wiping down the Instrument with a cloth, or polishing it up after use.

It may be circumspect to have a Fine, Long Haired Brush to remove any hard bits or debris lying on the surface of the Finish.

If such particles are rubbed into the Finish it may be the Finish is easily scratched or deeply damaged and Thinness of the Finish leaves little room for Traditional Methods of Restoration. Better to sweep away any such "damage potential" before you start.

 

 

If you think about it, older Guitars were Sprayed with an Operators action that reciprocating went back and forth across the Instrument, overlapping again and again in a great many areas.

So although the point about the porosity of nitro-cellulose is well made, (Cars used to be Sprayed with nitro-cellulose and this is why you needed to Wax Polish your Car to make it Water Proof) the thickness of Finish of Guitars that were Hand Sprayed, often with lower viscosity Material to start with, means that there was a Far Thicker Barrier on the Fished Instrument that would need to be penetrated by sweat in the first place, than with a great many Good Modern Instruments, Sprayed with Typical Settings for Electrostatic Robots.

 

 

So really the point here is that Knowing what type of Finish you are dealing with is the Key Thing.

Many Guitarists don't bother to Polish their Instruments. Perhaps with these Thin Finish Instruments, if they remove debris as described above then used a Protective Carnauba Wax, especially doubling up the Application of Polish on any areas where bare skin is likely to contact the Finish. That could Build a Water Proof Barrier, between the skin and the Finish and help prevent the problem occurring in the first place.

It's important here to differentiate between typical Guitar Polishes and a Pure Wax. Most of the commonly sold, commercial Guitar Polishes (Martin is or was a different kettle of fish) are a mixture, but are mainly Cleaners that cut through the grime to take you back to the Original Buffed Finish, but that also have a bit of Polish included. These types of Polishes are not what I am writing about. Clean the Instrument as a First Stage of a Dual Stage Process, and then apply a Pure Wax Polish of a Type that will establish a Strong Barrier that will inhibit and prevent the excursion of bodily chemicals into the open pores of the Finish.

If someone argues that it might affect the Tonality of the Instrument, (often we are dealing with what is in people's heads as much as anything else, and they might be right) then simply enacting the same process, but simply at the specific points where the skin is in lasting contact may be sufficient to satisfy their concerns, whilst simultaneously preventing the negative issue ever occurring.

 

 

In Factories, we have had all kinds of chemical issues in regard to Finishes.

Proper, Preparation, Promotes, Perfect, Paint Performance. Such is the Acidity of Skin due to the bodies PH Balance, but also Natural Oils, Enzymes and various Minerals, particularly devastating at the Fingertips, that common Paint Shop practice is to utilise Special Lint Free Gloves in all Preparation and Application Areas.

Sometimes a particular deodorant, or hand cream used unthinkingly by a Operator before work might cause absolute devastation to a Factories Output. Anything that is of a chemical nature can and does affect the Finish, simply by touching an area prior to the Application of the Finish, can mean that will show through  after many coats.

Years ago, various processes in many wiping booths existed in Factories (and still do) to remove any such Chemicals and prevent their negative effect. However, modern leaner manufacturing  processes mean that cutting out processes that years ago would have been De Rigueur, are today, very much the order of the day.  Modern materials and methods sometimes combine a number of qualities that would have once required several separate processes, so making the Manufacturing Operation more Efficient and Cost Effective.

The bottom line is that not only is skin acidity (to use too broad a descriptive term) a problem for some Guitarists, this Issue has always been and continues to be, a perpetually live issue that needs to be actively guarded against for Manufacturers and Repairmen alike. 

 

 

Thinking purely as  a Player.

From a Historical Viewpoint, aside from the different Manufacturing methods utilised in Modern Instruments.

It's worth realising that although today, every young kid seems to have a Les Paul or Strat, and there are also a plenitudinous amounts of CF Martin and Gibson "Owners".

Historically, these older Manufacturers fabricated far, far smaller numbers of Instruments  than they do today. Quite laughably small numbers by comparison. So these type of Brands were only found in the hands of the very best. Professional Players, Top Artists or the oddball, sublimely wealthy, enthusiast.

People that Performed on Stage, appeared on TV and especially dressed up to look good in those situations. The clothes they wore whilst working, be it a Tuxedo, Fancy Country and Western, or even Blousey, Bohemian looking affairs, normally covered their arms and bodies quite fully, and therefore there was little to nothing of their skin outside of their palms and fingers touching the Instrument.

Today, dress codes are extremely different. (Alas) I come from the same mould as people like Roger Moore (whose daughter sadly died recently) and Michael Caine, who would always love to dress up to go out for a meal at night. People years ago couldn't afford to do that very often and so it added to the "sense of special occasion" that was strongly anticipated. So if you were an ordinary person like me, or from an early, ordinary background like both of them, this was a way to bring highlight into ordinary life.

 

 

By contrast today.

Dress codes in the performing Arts are very different.

Photographs of Sweaty, Hairy Beer Bellies abound everywhere in would seem.

Tee Shirts with Bare Arms, and down dressing, reduced to the lowest common denominator of casual, often seems the order of the day.

By the way, it may amuse you to note that in contrast, David Rubio would often wear a Bow Tie and Velvet Waistcoat as he worked away making Instruments, in his Workshop in nearby Duns Tew, Oxfordshire.

My wife and I were recently going up an elevator in a Shopping Mall (in an appalling town with the name of Reading) only to find a young man of ethnic origins trousers, were hung in such a manner as to reveal a large proportion of his backside. My instinct was to give him a huge kick up it!

But the salient point is, there is today, far much more flesh on show everywhere, and the average Stage Performer, is no exception, in fact they often set the trend of these fashionable faux pas. 

 

 

So if your think about it, not only was the Layer of Finish, Thicker and quite often Harder years ago than many Modern Materials, taking much longer for the acidity of perspiration to penetrate.

Most times it never ever did. Because of the Style and Up Dressing of Artists and Stage Performers who were the few that could afford Fine Instruments, the sweat never came in contact with the Finish anyway. Thus, the problem did not exist in anything like the way, it does today. It's always helpful to view a problem, properly set in the wider cultural norms that are currently prevailing or that weren't present earlier.

Today the Thinner Finishes, applied with maximal efficiency and economy, CO-OINCIDES with the Exposure of a far greater degree of Flesh (the Artists appear to delude themselves into thinking makes them desirable to the opposite sex).

So there's more moisture contacting the Finish, and the perspiration has a much, much, thinner layer to penetrate, before it finds itself trapped within it, or between the Finish and the Instruments Wood, causing the Haze.

 

 

Progress, is often not all its made out to be.

Technological progress most especially, and every new technology, every move change in material, brings a set of new challenges concomitant to the change that for the most part, were not properly anticipated, before the introduction of the change. 

Where Finishes are concerned and Factories, conforming to new, environmental legislation, is often the most compelling motivational driver behind such change. Lower volatile emissions into the atmosphere. The marketing point of green credentials for the manufacturer.

So there's always an upside, but usually a downside to such changes too.

That's really how I see this issue.

 

 

As for why certain peoples sweat is so deleterious to sensitive materials.

There are a number of theories available, and three main ones at large. To my mind this reveals that the actual causes are difficult to truly determine for any individual. A complex mix, involving singularly personal, elements of biochemistry.

So although cultural and technological changes plays into this, the exact causes and reasons will be different from person to person. Their washing habits, the specific cleansing materials they use, their eating and drinking habits, their general bodily health and hygiene, hormonal activity and the liveliness of their glandular secretions, all will play a part in determining the exact chemistry that their perspiration exudes.

 

 

For some, a change of diet.

A regime of exercise and life style changes might be well in order. 

But there are a range of new Coated Strings which may be a way forward to some people strongly affected.

Another factor is the Temperature and especially its accompanying Humidity on any given day when a person is affected.

Many types of skin problem lie dormant, but suddenly come alive when particular extremes of environment are encountered.

Sometimes, these issues occur during a definite, and with the benefit of hindsight, a clearly definable, very particular period in a person's life, and are noted as exacerbated in particular circumstances.

Nickel Content, even when found in such material as Stainless Steel is regularly found to negatively affect certain peoples skin. Often these reactive occurrences do not simply involve the material and skin, but are in reality prompted by and coincide with a particular environment, most especially one that involves an increase in Temperature and Humidity.

To my way of thinking, the personal levels of Hormonal Activity during particular periods in an individual's life will also be a very strong factor, directly affecting the amount of secretions from that persons sweat glands along with their balance of PH and other factors. So all these disparate elements are but part of a complex picture, that factor into this problem and the severance with which people are affected, the length of its duration, will be different from person to person. The Climate in the Region of the World in which they live, is also likely to be another element that should be factored into the equation.

 

 

So in certain parts of the world this may be a big issue.

But in other parts of the world much less widely experienced.

And some individuals will be badly affected and others not at all.

I am lucky, as I don't have a problem with excessive or acidic sweat.

And do have a regime whereby every time I finish Playing any Instrument, it gets Completely Wiped Clean, Polished, Fretboard and Frets Cleaned, and of course the entire length of each and every String. Because my hands are clean before I start, and I don't sweat much, Strings tend to last much better than they seem to for many people. I grew up in a age when people were used to "Drill".

Older Guitarists like Bert Weedon who came to live in the next town, were much admired and they taught "Drill". In any case, Quality Strings were comparatively expensive decades ago and not always too easy to find compared to today. So although I can think of some exceptions, in general, Working Players learnt how to care for, preserve and extend, the Working Life of their Strings. Whenever I pick any Instrument I own, to Play it feels like way better than "Brand New". Its simply the effect of "Drill" designed to care for the Instrument.

 

 

But in this Spirit of Honesty, that Kerry opened.

As a footnote, Stress can be an additional contributory factor.

So I remember the first time I Played in Better, Large Recording Studio.

It was a Cold January morning, and to say the least, somewhat cool in the Live Room. So the outside of my hands, were quite Cold.

We stopped Playing for a Moment and I suddenly realised the inside of my hands inside were pouring with perspiration. Strangely, I don't ever normally sweat much really, and not at all on my hands, so as  I would notice.

 

The active element here is Stress...

 

I was overdubbing Lead Guitar on a Track, and had a carefully written Musical Arrangement worked out on the Music Stand in front of me.

Suddenly, the Control Room Door burst open and The Producer, grabbed the Music off my Music Stand and took in away. I was both surprised (and although I kept cool in the situation), probably somewhat panicked inside to discover, he really didn't like what I was Playing.

He told me to simply Play, what I felt spontaneously, and wanted me to extemporise, improvise and make up what "Felt Right" as I went along. The Producer had worked years before on a great many Recordings with prolific Guitarist Jimmy Page  who cut his teeth as a Session Player, before he was well known publicly. So I think the Producer was after a certain "Feel" and "Style" to be given to the Music, rather than anything else.

I knew that from the first time he heard him in nearby Aylesbury as a young Player, the Producer had long been impressed with Li'l Jims "Instinctive Feel" for what was required for any given, particular Number and later, was just the same on Recording Sessions, so I that was probably where I was going wrong as far as he was concerned, and you will no doubt appreciate by comparison, my relative inexperience and the many important lessons about Playing, I yet, needed to learn.

 

 

So, believe me, although it was cold and I don't sweat much, buy now the inside of my hands were literally pouring from Perspiration.

Stress, when Performing with a Musical Instrument can especially and in some cases, severely add to the problem of Excessive Perspiration.

 

 

Happily.

The Session went well from there, though you'll be amused to read I seem to remember seeing another of my carefully planned Musical Arrangements being suddenly and unceremoniously, ripped from my Music Stand, discarded and dumped.

I know I could have Played a small number of things slightly better than I managed to, with better note choice and being more dead in the pocket, but the tiny latter issues, (no one else would notice) may relate to technical issues of latency in that Studio, when overdubbing.

But I think I learnt a salutary lesson, that Good Recordings have a Great Musical "Feel" and it not about how many fast triplets you can cram into a line. I guess I had also been Playing Lead Vigorously in Spaces the Singers were eventually going to occupy, once all the Backing Tracks had been laid.

My mistake, of course, but it turned out ok, and that particular Track got Air Time on the BBC's Cutting Edge, Flagship, Music Channel, Radio One, and the Album Sold right around the World.  Like Kerry, I didn't react as some do and take the huff, I accepted my mistake, and put the problem right, and moved forward as a result. Working people just knuckle down and get on with  it.

 

 

But.

Nervousness can be a intrinsic and perpetual problem for Artists, Performers and Musicians.

Perspiration, to a lesser or greater degree will thus be involved for almost everyone connected to such Professions.

If Strong Hot Stage Lights are in abundance, then Perspiration can  go right off the Scale. Its why many String Players have neck varnish removed.

Anxiety, Tension, Nervousness prior to a Major Event can involve a Great Deal of Stress. Excessive Perspiration is the inevitable concomitant result for some people especially.

But it can come out in other ways. For example, I could tell you of well known and Experienced International Artists that literally throw up in the Toilet, before a Major TV Performance, just before they have to appear. Pet Clark was one such person.

It's the negative consequence of what is essentially, Internal Stress. On the other hand I could tell you of Certain Orchestral Conductors that appear to consciously and deliberately, wind themselves up into a Personal Storm of Internalised Stress, in the minutes prior to a Major Performance.

I believe what is going on here is that they try to Positively Harness what could otherwise be an Extremely Destructive, Internal Force within  their Bodies. Then Powerfully  Unleash all the Depth and Reality of those Emotions, into their Masterly Command of the Music,  in a way that Drives the Ensemble  of Musicians to a Higher Level of Emotional Performance.

Personally, I don't like people to be too relaxed before a Performance and certainly don't like them to be too edgy. I myself think that you need something of an edge, to be at your very best, but relaxed and confident enough in your preparation, able to be sure footed about your Performance.  Also able to take risks sometimes whilst improvising before an Audience or whilst Recording.  Nothing can beat the feeling that comes with those rare but very special occasions when you completely surprise yourself with your spontaneity and manage to reach for and pull off something you never ever imagined that you were even capable of.

 

 

So Recording or on Stage before an Audience, even when operating within ones comfort zone, however experienced we might be, there is a definite element of Active Stress, that plays a factor in this matter.

It can be a good thing for Guitarists to take a lesson from Tennis Players and keep a Clean Towel Handy when Performing. And like Elvis Presley, have a fresh towel always close to hand.

 

 

When it comes down to it.

There's a complex number of widely different factors that all coincide and merge into the likely hood of this Haze Issue occurring.

There are definite steps that can be taken to improve things in regard to the issue, and based upon experience, it's likely that it will in many cases, improve and gradually finally disappear altogether given a few years.

Perhaps, except at infrequent, extreme and exceptional times where a high number of contributory factors, suddenly coincide and occur simultaneously.

Usually, where High Temperature and Humidity are part of the Picture.

But I think there's quite deceptively, an awful lot to this issue.

Whereas people usually see it as a very simple issue.

It's really, far, far more interesting than that!

 

 

Although commonly held knowledge suggests the best Guitars are always made of Solid Wood and have Thin Finishes.

I like to keep an open mind about many such aspects regarding Guitars, especially when considering the involvement of a specific individual, situation or region.

What  may be best for one person may not be best for another. A Thin Porous Finish whilst seen as ideal for most Players, may be much better Replaced with an Instrument with a Polyester Finish, for those suffering with Deleterious Exudations.

Just as some dwelling in Extreme Climates might well greatly benefit by purchasing a Laminated Instrument rather than one that is fabricated purely from Solid Wood. Reading the Client, Understanding them and their needs and being able to Steer them towards the Best Solutions for their circumstances, is really what I am about.

For example, for myself, I have a Set of Instruments, largely, but not purely for use in situations where "Open Air" Concerts mean that the vagrancies and ravages of the oft changing British Weather will not be a definite concern, practical problem and whatever happens that is something the Instrument will be able to handle, in the worst case scenario, and ultimately, shrug off.

So some Instruments deliberately are chosen to have Polyester Finishes, Lamination etc. The very aspects that some people would deliberately go out of their way to avoid. It's really comes down to a matter of Horses for Courses. So it makes perfect sense to me, that someone with Atrocious Skin Problems that would severely affect Sensitive Finishes, would be best to have a look at some Alternatives, rather than adopting a Snobbish Attitude towards Instruments made with such Manufacturing Methods, as is the habit of some.

The funny thing is, I enjoy Playing them all quite equally, regardless of such factors, on the whole. Often there may be a temporary reason that justifies such purchases, and what Guitarist doesn't need a an entirely plausible reason to justify an addition to their Collection of Instruments?

There are lots of situations where a Different Set of Instrument Features, an alternative from  commonly accepted  norms, can in fact be the Best Solution.

 

 

I know you all Love your Woodwork.

So I hope you can watch this where you are.

Here's an interesting documentary about Grinling Gibbons.

http://www.bbc.co.uk/iplayer/episode/b01pyfd2/carved-with-love-the-...

 

https://www.youtube.com/watch?v=TaUCOXBI4m8

There are four parts that succeed each other, and it's well worth a watch if you like Wood.

 

 

 

P

[Steve Bettesworth]

Nothing wrong with Reading Peter, spent a happy four years at university there. 

Steve