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Everything posted by rb_quebec

  1. Looks totally new ! And surely made in China... The seller already knows where he buys his violins... Maybe can you ask directly ! Richard
  2. Hello Manfio, I would like to be a lawyer and be able to make a viola in one month at the same time... Your viola is really nice and the pictures shows the nice flames. I am impressed by your work and by your rapidity and I really respect what you are doing. The neck is better this time and the scroll is made with style and originality. I think that on your last viola the neck was not so nicely made. It's surely more comfortable this time for the musician. There is just a little thing that doesn't look perfect on the neck for me. It's the transition between the fingerboard, the nut and the head in the front view. The nut don't seems to be bright enough when I compare with the fingerboard and the head. Your model is nice for this type of big viola, but I find that the f-holes are this time too much vertical and it gives a cold look to the table. A little inclination or asymmetrically cut f-holes gives more life. It's just my opinion and I hope that it could be helpful. Continue your work and thanks for sharing. Richard
  3. Hello, Personally, I won't do that with DIRECT sunlight, but maybe whit a INDIRECT sunlight. It's based on my little experience with the subject. If the purfling is to tight in the mortise you will get one or more little cracks on the edges of the table... Not really nice when the varnish get into those little cracks... Maybe a nice way to make a antique violin. I only tried that one time behind a windows with direct sunlight during two days... Maybe the wind has a preferable refreshing and cooling effect on the wood. Maybe my violin was in a sort of greenhouse behind the windows...
  4. Thanks Lyndon for your reply and arguments. I've never learned to use Titebond in the violin making school and I've only used it when I was working for my ex-boss. He was an ex-worker of Morassi in Cremona BTW ! The guy also won 2 or 3 little prizes in violin making competitions in the past and he's surprisingly not the only professional violin maker using Titebond ! My unverified opinion about this glue is that Titebond is stronger than Hide glue. But maybe too strong for violin making and problematic for the future of a instrument. I am like almost everyone using Hide glue. But there's a lot of hide glue types and qualities ! Made from skins, bones, and other animal parts... I would like to have more information about those glues. Richard
  5. I think that joining is difficult. I would like to know more about the glue that the members here are using. My ex-Boss used Titebond II. A water resistant glue for exterior projects ! I was a little surprised about it but it's easier to work with this glue. You have more time. I know that some other violin makers are using the normal Titebond (Not the Titebond Hide glue) and others are using normal Hide glue. What are you using and what do you think about the Titebond glue.
  6. Hello Melvin, it's a really nice violin. It's only the second time that I see pictures of your work and I deeply respect the quality of your instruments. Like Amori said, I would also like to learn more on your varnishing procedure if you agree to share little things about it. Richard
  7. http://www.letonkinois.net/index.php Here's the internet site of the company that makes the varnish. The english pages are not working. You have to try another language. It's surely not the same product in the kremer catalog because there is natural resins in Le Tonkinois and not in the tung oil of kremer. Bye
  8. Unfortunately I am (either or neither : Sorry I am not bilingual) not Ferbose. I am not sure to understand your question Johnmaster, but I tried to cook linseed oil with litharge or more precisely Massicot (PbO - It's the same chemical formula but Massicot is simpler than Litharge without any ferrous metals or whatever...) and I've observed that you can get some nice colors with the oil while cooking it with Massicot. There's a reaction of something like that... I now have to test if raw linseed oil with Massicot can easily dry. Normally it should dry faster than raw oil and should have more color. The more you put litharge in the oil the more the oil dries and the oil has more color, but too much Litharge can give you some craquelure in the varnish or turn your oil into a soap.... Here a little description of Massicot: "Book Antiqua">Massicot "Book Antiqua">("Cassel Yellow," "Litharge"): Origin and History: May also have been called "giallorino" in the Middle Ages. Massicot is a very old pigment that can be dated back to as early as 1300 in Medieval Europe. Chemical Properties: White monoxide of lead, PbO. Heated slowly, it forms a warm yellow. It is the heaviest of the lead pigments, slightly orange in color, and forms a cement which is impervious to water when mixed with linseed oil. To form an actual cement, it is mixed with glycerine. It makes a drier known as lead drier when cooked at over 500 degrees F and mixed with linseed (this is the lowest temperature in which it becomes soluble).
  9. Sorry Allan about the way that I've made a comment about your guess. I am just a little angry when I see this type of Ebay seller or whatever type of abusive seller with illegal selling techniques trying to sell violins from China with etiquettes and branded with nice names.... Particularly to americans, canadians, australians and to the people on the big island there in the nord of europe (Great Britain!)... I hope that your not angry... Artomex seems to be in Paris but the internet site is only in english.... It's already strange for me! I've also seen the funny "pagina 1" on the certificate and I am not sure about what I am saying but I think that a french certificate in english has no legal value in France. This means that nobody can do something against this type of scrupulous sellers in front of a judge. There a lot of those typical illegal french selling techniques to sell anything to anyone. Particularly to the people not coming from France (Tourists or new comers). The are sometimes experts in this filed. I also think that the antiquing is overdone. It's looking like a old 300 years old italian violin ! And BTW this type of antiquing is not typical for that period in France. We usually see more plain varnishes without antiquing around 1950 in France ! Bye, Richard
  10. Don't seems to be genuine ! With some arguments Seems to be a fresh modern violin made in china. The varnish and the work looks really similar to a Jay Haide violin made in China. The accessories also seems to come from china. Bad quality and really badly installed. Look at the pegs, the cheap bridge, the thin cheap strings and the badly made upper nut ! Like a new violin from China. The fingerboard also seems to be cheap and mat because they but a type of black stain on cheap fingerboard to hide the not really black ebony... in China again especially... The fingerboard looks totally new for a 50 years old violin... The way that the corners are used seems fresh and hand made with a file or something like that and surely not original signs of the age of the violin. Like the marks in the varnish and the rest... If you look at the holes for the pegs, you will notice that the pegs are totally new and that the holes are also new because the holes are still really small for a 50 years old violin that was used by a professional musician!!!!!!!!!!!! The way that the varnish react around the holes of the pegs is also typical for new instruments with freshly installed pegs... The maple seems to come also from China to me. And now the stupid "certificate" made from an unknown expert in the violin making field in France and Europe... The best experts are violin makers and not unknow sellers of everything considered old and antique.... !!!!!!!!!!!!!!!!???!??!??!??!??!?!??! "Played by virtuosi violist in 1978 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!" Who's the mysterious musician that played the violin only during one year !!!!!!!!!!!!!!!!!!!!!!!!!!! It's strange, because they don't say the name of the guy!?!??!?! Maybe they don't put any name because nobody can check if the information is right........ And it's also a nice way to reassure a naive customer without any real facts. I would now like to know why some people make a guess without any arguments with this type of question ! A buyer might make big mistakes with this sort of guess and buy a 700$ violin from china for more than that. I am waiting on strong arguments if I am wrong about this violin. Someone with pictures of a real Louis Morizot ! Bye
  11. Thanks everybody for the help. I have to say that I've already accepted the fact that my ribs are not flat because 4 of them are already glued . I won't sand my 1.5 mm thick ribs to make them flat because I might make little or big holes on it. The deformations are unfortunately sometimes almost 1.5mm deep... I still have to bend 2 ribs and I will try to use a minimum of water to see if it's better. Please don't panic, I don't want to make a mix of perfectly flat ribs and deformed ribs on my cello because it might be strange. I will find a compromise. I've taken a look at the wood structure and the deformations occurred where the grain is larger or maybe where the grain differences are more important. It seems that a finer wood grain or a regular wood grain is more stable than an irregular or large grain. Bye, Richard
  12. Hello Jasmine , Thanks for your post. I've looked at your pictures in details on your site, but I was not able to see the ribs deformations. Your pictures are really nice and they are surely useful for a lot of people working on a similar cello project. I have enclosed a picture of the ribs that I've bent to show one of the part with deformations. It might be simpler for someone to identify what I am doing wrong. Jasmine, maybe the problem comes from the model that we are using ! We are also making a Montagnana cello model ?!?!
  13. I am sure that my problem doesn't comes from the mold type. I've tried two types of molds and I have the same results. The deformations actually happens when I am bending the ribs and after that it's not possible to make a perfect correction of the rib. Especially on the upper and lower bouts. This time I've worked a long time on the C-bouts to try to correct the waves in the rib. I was able to make the corrections with a lot of time. I've used water only in the beginning and at the end of the bending I've only used the bending iron and the strap without any water. On the upper and lower bouts I was not able to make any corrections... I still have two ribs to bend and I may try to make a kind of tool made from wood to be able to put more pressure on the problematic places. I also think that it's not a big problem to have ribs with deformations, but in my case I think it's exaggerated and I would only like to have a different result. Thanks about your opinion of the cello. It's was a team work. To be precise, I only made the ribs and the neck. Bye
  14. Hello, It's the second time that I make a cello and I always have some deformations of the wood when I bend the ribs. The deformations are perpendicular to the flames in the same direction of the wood fibers. The rib is not flat ! Look at the picture of the last cello ribs that I've made and you can notice in the C-bout and on the top rib that the wood is not flat. My wood seems normal. Maybe the bending iron is too hot or not enough ?!?! I tried with 150 and 200 Celsius degrees but it's the same problem. Not enough water or too much water. I tried with more water or less water put the problem is still there. Is it a pressure problem when I am bending? I am working with a normal bending strap made with spring steel and with solid handles. I must say that this time, the C-bouts are better but I still have a problem between the corners and the blocks in the upper and lower bouts. It's the place where it's not so easy to use the bending strap with a lot of pressure... What do you think about my problem ? Thanks
  15. Hi Michael and Ben, Today is still a nice day but it's colder. I don't know were you are living Ben, but here in Germany the weather is a little bit warm for this time of the year and always changing. It's hard to manage. About the acids. I am not a specialist with chemistry, but I've learned from a violin maker than you can cook colophony or pine resin mixed up with turpentine in a water bath and add a drop of acid at a time in the mix until you get the desired resin color. Depending on the temperature and the resin used you will get different colors (Gold, Brown, Red, etc...). Don't worry about my friend because he's always really careful and he gets really good results using this method. Bye bye
  16. quote: Originally posted by: Obligato The same results. But nothing green. I cook it a long time at very low temerature (Waterbath) Golden yellow-brown, close to the Propolis color. Michael violin-cello.com Hi Michael, Maybe it's because you're slowly cooking your resin without too much heat, that you don't have the green color obtained by me and Ben. I am usually cooking my colophony at about 200-250 Celcius degrees during..... I don't really remember how long.... between 6 and 12 hours I think in this case... I don't how is the weather in Bayern, but here in Stuttgart it's really nice and sunny today. Have a nice day, Richard
  17. Hi fiddlecollector, QUOTE: I have some of this also but havent got around to using it yet, from my experience ,any initial advantages of darker coloured resins is usually lost when its appiled as a thin varnish film. I think that I have to say that it's not true. My varnish made with the dark colophony is also darker has the one that I used earlier. With only one thin coat I am able to see the difference. I know a friend and violin maker making colored varnishes without using any pigments but just resins and oils. He is able to get nice reds, browns, etc... without using pigments. He also said that it's maybe better to work with raw resins to get nice reds because processed colophony is sometime modified to suit the industry and they seems to only want purified transparent colophony. I am really not an expert about colophony and resins but I can say that it's possible to get a lightly colored varnish just with colophony and oil. My friend works with acids to change the color of the colophony or raw resin. I did not tried that yet. bye, Rich
  18. Hi Ben, I have also reduced the resin mass by approximately 50% or even a little more. But why did you pounded your resin before adding it to your oil ?! I only put the hot resin on a glass and let it cool. After 10-15 minute, I take the pieces off the glass and I can store them or put them directly in the hot oil. I heard in the past, that it's not good to thin a varnish too much with Turpentine because it may become more brittle. I don't know if it's right but I am thinning my varnish with essential oil of petroleum and oil of spike - lavender. I don't have anything about the green tone color in this varnish because we are sometimes seeing nice olds violins with this type of green. I think that it's sometimes nice to use this type of color. Richard
  19. Hi Obligato, I also tried the dark colophony number 60303 from Kremer to make a simple oil varnish (linseed oil, dark colophony and tupertine). For me, the idea was to get a lightly colored varnish without cooking the colophony during hours. I wanted to save time. The varnish structure is like with another colophony , but the color obtained with this resin was different. With light colored cooked colophony I am able to have a transparent yellow-red varnish and with the dark colophony, the color is more intense and more brown-green. Do you have the same results about the color ? Tschüss, Richard
  20. Hi Jacob and NewNevbie, I have nothing against my ancestors of France but I have to say that René Morel seems to be more in the dealing and restoration fields now. I think that he never made a lot of violas himself. However with his rule the 2:3 ratio is respected and the rule seems to be a good one for a lot of violin makers. But what's going on with smaller violas (less than 16mm..... hey... 16"....) And what would do "the René" if he would like to reproduce a Carlo Tononi violin with a 200mm stop length !?! or put a bridge on the original violin !? NewNevbie, I have a little question for you. Do you know if every good violin makers forums are created by canadians or what ?! Maybe it's just a speciality coming from Ontario. You seems to know more about forums than me. Maybe I can find some information on the american side if you know one forum there. Bye, Richard
  21. I tried to find more information on Maestronet and on the Violins.on.ca forums but I don't find the right solution for this type of problem and not a lot of information. I only found that the string length seems to be very important for some people and not as much important for others.... But a standard neck length seems to be more important than the rest... I was sure that my question was a little stupid but it doesn't seems to be the case.
  22. Thanks to all of you. You've helped me a lot with this little tricky problem but I am still wondering what is the most important thing for the musician ? A standard string length (690mm cello or 327,5mm violin) or the 7:10 (cello) or 2:3 (violin) ratios. I am also thinking about this problem with different violas sizes, string lengths and ratios and I don't know what's the most important thing or the right solution. When I make a new bridge on a violin with a non-standard stop, diapason or neck length, I am never sure of the right or best position of it. My ex-boss always said to respect the string length and my actual boss think that I have to respect the ratios. In the two cases I sometime end up with a strange bridge position or strange string length depending on the way I approach the problem... I don't play enough violin, viola or cello to feel what is the best solution to this type of problem. I only understood one thing and it's that It is not always simple to respect the old masters and at the same time respecting the actual playing standards. Richard
  23. The model I will use is the Montagnana Jarnaker (Järnåker) cello. The 1:1 pictures and measurements are edited by Cremona books. I've seen that they indicated that the 408,5mm diapason or stop was taken with calipers and not with a rule ! The lenght might be a little longer with a rule because of the arching. According to the picture, the bridge is not centered with the sound hole notches. The bridge is 12 mm thick and the position of it is a little bit more in the direction of the neck. There is 9mm between the upper face of the bridge and the notches and 3mm between the back of the bridge and the notches. Unfortunately I don't have any information on string length or neck length. What would you do in this case if you know that I don't want to move the sound holes to respect the model ? Richard
  24. I am now also sure that the right ratio is 7:10, but my problem is still there... It's clear that with a 399-400-401mm diapason or stop, the neck length will be normally around 279-280-281mm. But what should be good with a 408,5mm diapason or stop ? If I make a 408,5mm diapason or stop and a 285,95mm long neck I will end up with a really long string length. Aproximately 15 mm longer than with a normal 280mm-400mm neck and stop ratio. The cello player might have problems with that !?!?! Should I respect the total STRING LENGTH or the 7:10 RATIO ????????????? Should I make a 271,50mm (280mm - 8,5mm) long neck for a 408,5o mm diapason or stop ? In this case my string length will be like on a 280mm-400mm cello. Maybe my questions are stupid, but I have this problem since I am working in violin making. When I have to make and position a bridge on a long cheap german violin with a lonnnnng neck and lonnnng stop... (200mm-132mm) ?!?!?! Richard
  25. Thanks for the information Fiddlecollector. If that product is found in ham I will surely won't be scared to try it on a fiddle... Bon appétit Guten Appetit Buon appetito Enjoy your food
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