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Everything posted by rb_quebec

  1. Does anyone have basic information on cello plate tuning from Carleen Hutchins just to have an idea of what she thinks or suggest. I am not a disciple of the Hutchins method but it's sometimes helpful to have some basic data.
  2. rb_quebec


    Salut, Je pense bien comprendre tes interrogations. C'était pas super clair sur le moment, mais ce n'est pas très facile à expliquer. Je ne pense pas que tu obtiendras un résultat sonore optimal en ayant 2 planches d'épinette qui ne respecte pas le fil du bois (20 degrés de "Runout"). Tu obtiendras une table avec beaucoup de bois de bout comme fiddlecollector a dit. Si les planches sont vraiment épaisses, tu pourrais les scier une nouvelle fois pour corriger la coupe du bois ou le "runout" su tu préfères et si c'est possible.
  3. I am still working on my cello project and I am searching for information about the average weight of a cello top and back. I am also searching information about the tuning of cello plates. There a lot of literature on the violin, but it's unfortunately a little bit more complicated to find information about the viola, the cello and the bass. I've made a search in the discussion board and I've only found that one of the strad cello top have a weight of 390gramms. If someone have more information about the cellos of Strad it would be really appreciated. I am especially interested on information about Montagnana cellos. Richard
  4. Sorry Colledge and Nonado, but I don't especially like the products of the Gliga company. They may be inexpensive or have a good price to quality relation but I don't like them. I am not an expert on the different violin qualities made by the Gliga company and I've did not seen every qualities made by the employees or "makers" there, but I personally don't like the products they make. I think that they sometimes make strange things also. It's only my opinion and I don't think that a big company like that can be considered has a workshop full with VIOLIN MAKERS. It's not my personal definition of a violin maker. This is why I've putted square quotes around the word "maker" when I've said something about the man in the little movie. I think that it's necessary and essential to have such companies on the market to allow kids, beginners and amateurs to play violin, viola, cello or double bass, but I don't consider the employees of Gliga like complete talented violin makers. A complete violin maker needs to be more in relation with the wood, with every steps in the making process and to be more aware of the history of the violin, the makers, the musicians, etc... A real violin maker also need to be a little bit like an artist to be a real one. It's only my little opinion on the subject that I've tried to shortly explain and I want to emphasize on the fact that I respect the people creating violins in a more industrial way and that we can also learn a lot from them. Richard
  5. Hi, The speed of the guy in the video from the Gliga company in Romanian is not especially impressive. It's a manufacture and the quality of the products is not good. It's possible to work faster and it's possible to make better violins with the same speed. I've seen a video at the last Musikmesse fair in Frankfurt from the Stentor company. They have facilities in China and I've seen how fast they are working. It was a really impressive video. They don't use a lot of machines and they can joint three to four tables while the "maker" in the Gliga video makes only one joint and he's using a machine to do the job... Richard
  6. Ok, almost everybody is using rice to clean the italian violins. What should we use to clean the cellos and the double basses ? Macaronis ? Gnocchis ? And naturally, we should not cook the noodles and the gnocchis before using it.
  7. Thanks Newnewbie, A friend of mine is actually searching for this kind of product. I've never tried it but it seems to work well. My friend told me that the product from Sandvik was no longer available. Bye Richard
  8. Thanks everybody for the good tips. I've already contacted the manufacturers or distributors for measurements and prices. Thanks again ! Hi Manfio ! If you are searching for a big viola case for your 43cm violas, you might be interested by the Antonio cases. They are sold by Peter Chu - Eastman strings in Germany and probably available from eastman strings in the United States. Peter Chu is able to speak english if it's not possible to get the cases in America. He's selling two adjustable viola cases (ORL Orlando (80euros retailer price - 38 to 43cm long violas) and ATN-308 (225euros retailer price - 39 to 43cm long violas) models. There is another model with the Amsterdam name and it's adjustable but I don't have the measurements. They also sell a double violin-viola case and a 39 to 43 cm viola fit in this case ! http://www.eastmanstrings.com http://www.eastmanstrings.de I hope it was helpful, Richard
  9. Hello, I am searching for someone a big cello case for his Montagnana cello model. The upper bout of the cello measure 375mm and the lower bout measure 460mm. I've already found information about the BAM, Jakob Winter (They don't make the big model anymore), Accord (Expensive) and Gewa cases. Is there any economic alternative for a big cello case or any other companies making big cases for Montagnana cellos ? Thanks, Richard
  10. Water soluble wood filler (Holzpaste) in Germany from the CLOU company. 18 colours. Works well, but it's preferable to use wood on nice instruments. Holzpaste (rb; I edited your message so that the product is linked. The image you tried to post won't work without the server address; http://etc.)
  11. I am actually working with "Transparency films" used on overhead projectors. I've got the tip here on the forum I think. It's still experimental but I think that it's a good way to work. It needs less place than glass when you store it. It's possible to store the sheets in a book or something like that. It's more porous than glass, but It's not a problem for me. It's also possible to take notes on the sheets with a permanent marker. I am testing the oils and the varnishes on the sheets. I am also able to scribe lines on the sheets to separate different types of tests. I am also able to verify how flexible are my varnishes because it's possible to plow the sheets. I can look at the "real" color of the varnish without the influence of the wood and I can superpose different sheets with different varnishes to check if I get the color I want when combining different varnish types. I can put the superposed sheets on a piece of wood (already treated with a ground color) to see an approximate idea of the color I can get with different varnish combinations. When I think it's nice and good (color, transparency, texture, flexibility, resistance, application, adhesion, hardness, etc...), I can start to make a test on wood before trying it on a real violin. I though it might be useful for some of you. Richard
  12. Hello Mike, Look at the "More on varnishes" thread. Richard
  13. Thanks, because now I know exactly what is Megilp ! It's simply a paint medium with a Jelly texture made with a lead based drying oil and a mastic spirit varnish. It has nothing to do with the Darnton varnish. I am not a Darnton varnish expert, but I've never seen that the Darnton varnish contained Lead or has a Jelly texture.... QUOTES FROM THE SITE OF JAMESCGROVES ("Jelly" Mediums for Oil Painting Megilp Not an oil varnish but a once-popular spirit varnish & leaded oil painting medium that seems to have been used from about the mid-1600's on up to modern times. We do not sell it (though we do offer an unrefined walnut 'black oil' if you wish to prepare your own) (In fact, many how-to oil painting books written during the later 1700's and well into the 1800's mention Megilp as a useful medium. Typically, the various authors call for the mixing of "Drying Oil" with a quantity of "Mastic Varnish." For instance, Eastlake mentions on page 310 of his "Methods and Materials..." , 1847, vol.1, that Megilp is composed of "drying oil and mastic varnish.") (Walnut 'Black Oil' Made from unrefined walnut oil, this oil, cooked with lead, is anything but. It is a transparent golden-colored oil that will dry fast, increase lubricity; and, when combined with an equal amount of mastic spirit varnish, produces a fast firm megilp jelly that has none of the faults of the linseed-based version.)
  14. Thanks Andres for the nice proposition, but I was already logged out when you've sent the message. Like Clint said the site is now working today.... Richard
  15. Aloes was largely used in spirit varnishes but don't seems to be frequent in oil varnish. What type of varnish it's possible to find on the dark Tyrolean violins? Richard
  16. Thanks Mike and Andres for the information. Black oil is (for me) just a cooked oil with lead oxide (Litharge - PbO) and maybe with a onion. Black oil is not a oil/resin varnish made of linseed oil and mastic. It's want I think but I am not sure of what I am pretending. Mike. Do you mean that the Darnton varnish will deteriorate during the next 50 years? You've said that it is Megilp ! Why should a linseed oil/Mastic varnish deteriorate in this matter when there is no metals additives like Kobalt, Lead, etc... in it ? Richard
  17. I don't know why but the link is not working for me. Maybe I've learned that there is some internet sites that are censured in this country.... Seems to be interesting, but now I will say good night... Bye Richard
  18. The link is not working ?!!?! I've made a search with google and found the same site, but it's not working.... Richard
  19. Sorry I am a little mixed up between german, french and english... I mean Aloes ! Hello Manfio: Did you tried to make a filtration of your oil ?
  20. Hello, I've heard little stories about Aloe in Oil varnish. I've never used that product before. Some German violin makers get nice results with it but I don't know how to use it has a coloring element. I've also found information about it's anti-siccativ propreties.... Maybe someone can share his experience about this topic. Thanks. Richard
  21. Hello Mike_Danielson What's "The infamous megilp" ? Never heard of that. Is it Black oil ? Richard
  22. Hello Dean Lapinel and the other Maestronetters, I am actually testing different varnishes that I've made with Lead oxide (PbO) has a siccativ cooked in Linseed oil, based on the researches made on violin varnishes, historical varnishes for painters and based on different conferences about the subject (Like in the documents found by fiddlecollector). It seems to work very well. They did not had any UV box, tanning studios, or any black lights in the time of Stradivari and Cremona is surely not the sunniest part of Italy or Europe. I am convinced that the use of Lead oxide was necessary at that time of the great masters for practical and commercial reasons. It's easier and faster to varnish a violin when there is a siccativ in it. The "craquelé" effect found on lot of old violins may also come from the use of Lead oxide used with incompatible coloring matters. I have made several Linseed oil / Colophony varnishes with or without Lead oxide and the results seems to be clear. Without any UV box, the varnish with Lead will dry in 24 hours and the varnish without Lead need one week... But I think that we have to be careful with Lead oxide. They seems to found Lead oxide traces, BUT NO LEAD PARTICLES in the old varnishes. It means, for me (It's my theory but sometimes supported by historical documents), that they've made some siccativ Linseed oil with Lead oxide but did a filtration of the oil before making varnish with it. The concentrations of Lead oxide traces are also very important because a too high concentration can led to the destruction (auto destruction) of the varnish during the centuries to come. The phenomena was observed on different old paintings. The addition of several incompatible coloring elements can also led to the destruction of the varnish when added to a varnish made with Lead oxide. I would like to hear more about the subject if someone made some tests or research with Lead oxide.
  23. Hi C.B. Fiddler, I don't think it's a woodworm or maybe it's a special type of woodworm that I've never seen. I've made a small and fast research in my documents about the subject and I've found three types of woodworm and they are not like the insect that you found in your violin. We sometime find strange things in a violin, but the worst to see is in a cello or in a double bass....
  24. Hi, The shop of Vatelot and Rampal is one of the leading french shop for expertise and they have an international reputation. They already sold instruments from Stradivari, Guarneri, etc... and they also restore this type of instruments. If you want to visit the underground part of Paris, you could see the Catacombes (Pretty interesting, but surely not romantic) or "Les égoûts de Paris". I think that "égoût" is "sewer" in english.... It's not romantic, but some friends told me that it was interesting if you forget the odors.... Richard
  25. Go there to find a list of violin makers in Paris: http://www.glaaf.com/memile.htm If you want to see a lot of violin makers, you have to go on the "Rue de Rome". This is a street where there is a lot of people working on violins and bows (Millant, Boyer, Raffin, etc...). They are mostly restorers, experts and dealers. There is also a book shop with books on violin making on this Street. Near from this street (a little walk) you can visit the shop of VATELOT RAMPAL. VATELOT RAMPAL 11 BIS, rue Portalis 75008 PARIS - FRANCE Tel: +33 145 22 17 25 The "Cité de la musique" museum is really interesting. There is also a library, concerts, etc... Have a nice trip ! Richard