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Everything posted by rb_quebec

  1. Hi Michael, I think that you are doing the right thing by asking or saying that there is a problem when they sell products with a possible level of toxicity and that there is no mention of it anywhere. If you go there with Herr Kreuzer, you might have all the arguments you need to convince the people of Old Wood and of Magister to change those maybe illegal practices. You might get a special price for the products because they don't want to have problems with you and the big Herr Kreuzer of Mittenwald. If it's the case, you could make a special order for us the Maestronet ! For the price of the Hammerl antique stains we are all interested I think. They probably don't want to say anything about the toxicity because we might find the basic elements of those products and surely because it's really complicated to ship dangerous products and to send them to a lab to make the necessary toxicity tests. They would need to make a lot of administrative work to make everything legally and it's costing a lot of money to manage that and it's expensive and complicated to send dangerous products by mail, by truck and maybe it's impossible by plane... They find a market for varnishing products and they are making a lot of money with it I think. I don't have anything about people making money if they have good ideas and good products, but they surely have to make everything legally and have to respect the health and environment of their customers and of the people working for the shipping companies. If they make, sell and send dangerous products without any information about it, they are in big trouble with the European union and maybe with countries receiving those products. They are not playing a nice game and I am not happy about it. Thanks for your procedure and give us some news about it when you're back to Germany. Richard
  2. Hi Michael, I've already heard about the possibility of potassium nitrite in the ground system of Koen Padding (circuling rumors...). I don't know about the Old Wood system and I cannot compare the results between the Magister, Old wood or Hammerl products because I've never tried this type of ground. Do you think that the products (421/422 Stains) from Hammerl are similar to the products of Magister and Old wood in their composition or just giving similar results ? Thanks, Richard
  3. I think that it's not necessary to use this type of fingerboard anymore, maybe because there has been a lot of evolution in the strings technology. I really don't know if it was possible to comfortably play a viola or cello with no "buzzing" without using this "Romberg flat" in the past or if it was really necessary for the violas, but I think it was probably a necessity for Romberg at that time for his cellos because of the strings gauges or stiffness and maybe because of his personal style of playing. It was maybe a simple idea or a too simple idea to solve a problem he was having. I think that it's possible and was possible at that time to get the same effect or feeling with a round fingerboard by making a exaggerated "hole" under the C string. I still see viola and cello players using this type of fingerboard but I don't know if it's because they want that or because the instrument was simply like that when they bought it. I am not a historian and I did not make to much research about the strings, but it might be interesting to put this problem in his historical context if someone feels competent about it. Richard
  4. Really nice Michael ! Thanks for the pictures and for the explanations ! Richard
  5. I don't know why, but I am not able to see the pictures anymore. I've already seen them and I think that you are making a beautiful work ! Superb ! Richard
  6. Wonderful. Nice model. Nice wood. Nice head. Nice varnish.
  7. Thanks Darren. The wood of this back is nice but it's a little complicated to work on the bottom of it, where there is a lot of different grain directions. About the cradle, you should not be impressed ! It's a really simple way to work. It's a modified cradle from the Bogaro and Clemente company in Italy. There are already some threads about cradles on the forum if you want to have a nice cradle in the future. I've made two simple square holes on it (see pictures). I am also temporarily gluing two square blocks to the table and back. It's a simple way to stabilize the plate on the flat side of the cradle. It's also possible to make this type of fixture with any flat piece of wood. I am using the bench dogs to clamp the cradle on the workbench and put the back or table on it. the tables are staying there and I can work with the gouge or planes without having anything in my way. I am using this clamping technique until the arching is completed. I can clamp this fixture in a horizontal way or give a little bit of a angle like on the picture. It's really simple and stable. The problem about the cradle is that it's too small for my Montagnana model cello. It might be impossible to use it to make the inside of the plates. Richard
  8. Today I was working on my part time cello project. Here's a picture of the back. Richard
  9. I am testing and making varnish with a technique similar to the one used by Taylor and Fiddlecollector. There a couple of violin makers using this technique. Since two years, I have made a couple of varnish compositions using nitric acid to give color to various resins (Rosin, Venice turpentine, Mastic, Strasbourg turpentine, etc...). I am trying different resin combinations to see if I can get different shades, colors and physical characteristics (Hardness, flexibility, drying, adherance, etc...) of my varnishes. I am also testing different oils and different turpentine types. I am still testing my results, but I can say that I am really satisfied with the results. I think that it's an easy and a fast way to make nice varnishes in a relatively guaranteed way. It might be a little dangerous, but it's possible to reduce the risks with a good protection and good advice or knowledge. It's not because a product is dangerous that we should not use it. There a lot of dangerous stuff on the market, in the workshop, in the garage, in the kitchen, in the laundry room and in the bathroom and we normally know what to do or not to do with it. It's the same thing with nitric acid. It's important to know that it's not a good idea to throw that stuff on someone but it doesn't means that we should not use it to make varnish. I think It's a good way to make varnishes but I still have problems to solve with this type of varnish. I am still searching for the right ratios between oil, resins and turpentine to get the perfect viscosity that I want or need. I am also still searching for the right cooking times, temperatures and nitric acid quantities to get the color intensity that I want. I find that it's hard to get the color that I want because it depends on the color concentration of the varnish itself and on the number of layers of varnish. I have varnishes that I've made using this technique that are too clear and I need lot of coats to get the color I want and I have made intense colored varnishes that are to intense or to dark in color and have a tendency to be opaque and really dark at the first coat. I don't know how viscous is the varnish of Taylor but I find that he needs a lot of layers to get the color he wants. I tend to think that it's better to have a thin coat of varnish on musical instruments. I may be wrong but it's my personal theory at the moment. I would like to see pictures of Taylor's or Fiddlecollector's instruments with this type of varnish to see how it's looking like if they want to share it. I unfortunately don't think that this varnish is the ultimate way to reproduce the varnish of Cremona. I think that this topic is a little more complicated than that and that the solution is not only in a simple varnish recipe. We only have to read the report made by Ferbose to see that this topic is more complicated than that. I think that this recipe is a really good starting point but we have to make more research to find what really is the Cremona varnish.
  10. The Ebay sale is ended ! Only $112.50 for this completely new violin ! The conclusion is still the same. Surely funny but still disturbing. I hope that they used a CNC machine to make this violin and not humans for that price...
  11. Hi Dean, Thank you for the precious information. I've made a big mistake . You're right ! It's not my girlfriend but I think that it's your wife... I am sorry about this mistake. I am regularly seeing your wife at the moment and I've thought that ... euh.... well you know what I mean... If you want to clear this out, we will have to get out of this topic and get face to face. PM me if your not a chicken I think that we have to be careful now with this topic. The moderator is there to check if something goes wrong with it... He's making a good job... Always there to see if we respect all the rules of this forum... Bye
  12. It's disturbing... It's embarrassing... I don't really understand... I've seen my girlfriend on a violin on EBAY !!!! http://cgi.ebay.ca/ws/eBayISAPI.dll?ViewIt...=ADME:B:SS:CA:1 Where are we going.... Richard
  13. I was also one the guys running on monday to find the right office to send my small inventory of Pernambuco ! Writing a declaration, making pictures, weighting everything, etc... It was not so funny but now that everything is finished I am glad that I've made it. The most complicated part was to find the right office responsible of this subkect in the region where I live in Germany. Richard
  14. I agree with Wolfjk. I also think that this "Farbessenz" is a colored spirit like spirit of turpentine or alcohol. I think that it's easily possible (Never tried !) to color a solvent to a desire color with different substances and use this solvent to make a varnish with almost uncolored resins. I've never made spirit varnishes and I don't understand the addition of Linseed oil. What's the desired effect of the oil and why should be the oil old and not boiled ?
  15. I've just received an E-mail from a french association of violin and bow makers (ALADFI) indicating that violin and bow makers have to declare theirs stocks of raw pernambuco wood before the 12th of september !!!!!!!!!!!! They also sent an application form only available for the french government authorities. It's a pre-convention application to determine the quantity of this wood in France at the moment ?!?!?! Is there somebody out there able to explain to me what this procedure is ? Is there a similar procedure in other countries ? Is it really necessary to already do that before the inscription of Pernambuco to the second appendix of the CITES ? If there is a similar procedure in Germany and how is it working ? Thanks Richard
  16. Thanks for the tip ! It's exactly what it's useful and nice for me !
  17. Hi Ron ! Please post it to us (scanned, photographed or typed) and we will make a little translation of that recipe for you. It seems to be varnish and no glue.
  18. Thanks KenN, Here's a picture of the program Osnes is using. Richard
  19. Michael (Obligato), Fiddlecollector and NewNewbie, Thanks for the detailed information. I think that I am slowly finding a direction on how to approach the cello plates now. Thanks a lot. P.S.: Does anyone have a picture or a Strad poster with measurements of the Cello CD rack of Stradivarius ?
  20. quote: Originally posted by: KenN I'm guessing that the term "C -20 would be C minus 20 cents, not 20 hertz, since he used C and not 128 or something like that. He was probably using a tuner and read the pitch off that. That should give you some concrete numbers. Helle KenN, I don't understand your "20 cents" explanation, but I can to say that Osnes is using a tuner on his computer to check the note of the plates. It's possible to see some pictures on his internet site. Richard
  21. quote: Originally posted by: Johnmasters I have made only three cellos, but an interesting thing turned up. When the plates were thick, too rigid for an actual cello, I found a ring node. (mode #5) When further thinning, this mode disappeared. The final thicknesses were about half again violin thicknesses. The ring mode no longer existed. Has anyone else had this experience ? Hello Johnmasters Maybe all your number 5 modes are making a party in Texas right now with the mode 5 of the cello top plate of Wm. Johnston.... I am sorry about that but I was inspired by the humor of NewNewbie with the cd rack.... I still do not undestand why you don't have any mode 5.... It's pretty strange....
  22. quote: Originally posted by: Wm. Johnston Unfortuanately it is at my Texas workshop and I'm in Colorado right now so I can't tell you what the tap tone is but I do remember checking a while back and it was there. Hello Wm. Johnston, It's nice to know that you can trust your mode 5 that is always staying with your cello top in Texas ! When you have the chance to check the frequency of your top plate it will be appreciated. Just to have a chance to compare more data. Richard
  23. I've found some information about cello plates of violin maker Osnes on his internet site where his showing how he makes a cello. What are you thinking about that !? MAybe someone can understand what he's meaning when he's writtin "C - 20" or things like that. Maybe he wants to say C note minus 20 Hertz ????? "http://osnesviolins.com/8.Graduating%20the%20Plates.htm">Graduating cello plates It's not easy to read the data on the picture but I think he's giving the following numbers: Cello#43 Strad model Top Wood - Sitka Top - 465gr Mode 5 - B + 6???? Back wood - Bigleaf Back - 656gr Mode 5 - C - 17 ??? Cello#45 Strad ?Mara? model Top Wood - Sitka Top - 450gr Mode 5 - B - 30 ???? Back wood - Red maple Back - 645gr Mode 5 - C# - 50 ??? Cello#37 Strad ?Davis? model Top Wood - Sitka Top - 442gr Mode 5 - C - 50 ???? Back wood - Bigleaf Back - 589gr Mode 5 - C - 20 ??? Cello#38 Strad ??Hiltebagd?? Model Top Wood - Englemann Top - 413gr Mode 5 - B 20 ???? Back wood - Bigleaf Back - 580gr Mode 5 - C - 20 ??? Cello#46 Strad model Top Wood - European Top - 425gr Mode 5 - C - 25 ???? Back wood - Bigleaf Back - 624gr Mode 5 - C 20 ???
  24. I've found an interesting article from Nigel Harris and he gives the following data: Cello back 673gr Mode5 - 142Hz (C#-D) Mode 2 - 66Hz © Cello top 434gr Mode5 - 148Hz (D-D#) Mode 2 - 49Hz (G) I still have to read the entire article. Here's the link for those interested. "http://www.violin.uk.com/research/1.%20On%20graduating%20the%20thickness%20of%20violin%20plates.%20VSA.pdf"> Graduating the thickness of violin plates
  25. I would also like to know what happened to your mode 5 John ! It seems impossible from me to get a top or a back without any mode 5 if you are still using standard cello thicknesses.... How do you measure your modes. Tap tone or with a frequency generator ? What do you mean with "final thicknesses were about half again violin thicknesses" ? Richard