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Everything posted by rb_quebec

  1. OK, the two nitrites maybe have the same effect, but is this effect destructive for wood on a long term basis (50-100 years)? I am not a chemist and I never tried this type of chemicals in the past.
  2. But does the two products give the same oxidation color or affect differently the structure of wood if it's the case ?
  3. I have a little problem and I am mixed up at the moment with the cello neck to stop ratio. Paul Stewart Prier said in is Dimension sheet available on internet, that the ratio should be 7:11. On the site of Alan Goldblatt we find 7:10. My actual boss is working with 7:10. My ex-boss had no idea about all that because he thought it was like on a violin with a 2:3 ratio and finally I found something on this forum talking of a 280mm/400mm ratio..... I want to make a Montagnana cello and my diapason or stop on the table is 408,5 mm. Now I have to find the right neck length: With 7:11 I will have a neck of 259,95mm (I think that's a typing mistake from Mr. Prier) With 7:10 I will get something more normal with 285,95mm With 2:3 I will have 272,33mm (I think that it's clearly wrong) And if I work with the 280mm/400mm ratio, I will get a 285,95 mm long neck because it's exactly the same ratio has the 7:10 ! Please help me to determine the best neck length for this Montagnana cello because I don't really know what to do. I hesitate between a 280mm long neck, a 286mm long neck or a compromise between the two. Thanks, Richard
  4. I would like to know what's the difference between SODIUM NITRITE or POTASSIUM NITRITE ??? I already know that some makers use POTASSIUM NITRITE to oxidize the wood on new instruments before varnishing, but I never heard about SODIUM NITRITE ! I would also like to know a little bit more about the effects of theses products on wood. Is it good to use this type of chemicals on new instruments ? I've heard that it may have some destructive properties on wood. Richard
  5. Here's a nice little italian violin makers genealogical tree that I want to share with you. I found this tree on a Russian foundation internet site but I don't know the origin of the tree. Anyones knows where that tree comes from ? Richard
  6. IU am sorry but I would say German... With this type of F-holes with two small olives or holes and a bigger f-hole body it's looking like german f-holes for me. The model is also german for me. The short button on the back. The wood is also not the type used on the violins in Mirecourt. Maybe I am totally wrong about the german origin, but I am 99% sure that the violin is not from the french Mirecourt tradition, but it may comes from somewhere else in France if someone have some arguments about that. Good luck
  7. Dear Melving, I have a lot of respect about your work. Your cello is simply a wonderful instrument. Your work is really finely made, the varnish is wonderful and not exaggerated like a lot of antiqued instruments. The antiquing is just marvelous and realistic. I am not a expert and I did not seen the original instrument and it's not necessary because this cello is simply gorgeous. The pictures are really nice, but the cold aspect of this type of picture is not always desirable I think. It's only impossible to feel and understand the third dimension of your work. The archings seems unfortunately to be flat with this type of picture. About the archings. I am impressed by the difference between the table and the back on the side view. The back seems to be minimum 25 % higher compared to the table ! Is it the case on the original instrument ? Do you think that it's better to do it like that with this type of wood ? I tried to find something that I did not like on your cello. I must admit that It was not easy and maybe that you made ít like that because it was exactly like that on the original cello or maybe the pictures gives a wrong impression. I find that the button on the back of the instrument is a little bit flat on each side. When you look at the picture taken of the back, I feel that the button consist of two vertical and parralel lines with something round on the the top of it. I also find that the round thing or button (I don't know the name in english) on the back of the scroll seems to be too much round. I also find that the lines of the scroll on the front and back view pictures are too much horizontal. This gives a cold aspect to the scroll. The scroll also seems less antiqued compared to the rest of the cello. I hope that you will in the future still send pictures of your impressive and inspiring work. Richard
  8. Hello saintjohnbarleycorn, It's never inappropriate to ask questions and it's never good to guess everything by yourself. You can just loose a lot of time and patience. You just need to find somebody who wants to help you. It's not always easy in the violin making field, but this forum is there to show that it's possible. I think that I am not a really good varnisher. There a lot of ground techniques and products and my technique is really simple but not the more interesting. You can search more information on grounds on this forum with more qualified violin makers. Here I share my modest and still experimental ground with more details. My ground N.B.: (I always put the violin to dry in a light box with UVA und UVB neon lights when I don't work on the violin. Actually I only work with a terrarium neon light (UVA and UVB together) in the moment.) -Borax mixed with water (Mix borax with warm water until it's impossible to disolve more borax in the water or when a residue always stays at the bottom of the glas). Prepare the mix and put it on the violin with a normal brush. Put the violin in the light box until it's dried. Borax should be a protection for the future against worms in the wood. -Potassium silicate mixed with water (Mix 3 to 5 % Potassium silicate in water and put it on the violin with a normal brush. Put the violin in the light box until it's dried. Don't forget to wash your brush. Potassium silicate is also called Water glas... It meens that it turns to glass when it's dried). I use that has a stiffening agent for the wood. I don't really know if it works well or not... -Linseed oil with kobalt (I put a coat of Linseed oil koblatfirnis from the kremer pigments company. product number 73100 with a simple coton rag. I remove the excess of oil with a dried rag and I put the violin in the light box. I want to accentuate the flames with oil and protect the wood before the varnishing process. It's a little bit a sealer also. I hope that this will help you. Richard
  9. Hello David Tseng, Like you said, I applied a thin coat of glazing between the varnish coats. I was not able to put a lot of color (oil paint) with one coat of glazing without having big problems (The color was not regular and a lot of paint was in the edge/side corners, but the center of the sides were not really dark due to more friction of my fingers at the more accessible places... I am sorry that I cannot explain everything correctly in english, but I hope that you can understand). I apply the oil paints directly with my fingers and after that, I tap the surface with my hands or fingers to remove any excess of paint and to regulate the color. Maybe someone can help me about that. I would like to put more color with one glazing coat. About the borax mixed with water. It smells a like bit like potassium silicate and the effect is similar for the color. I think that it's also a stiffening product like potassium silicate. I use that has a protection against the worms. I seen some information about that in some articles of different magazines. It's the first time that I try that. I don't know if borax is water soluble after application but I don't think so. I also think that the product is very similar to potassium silicate and won't create a special compound with the borax coat. But if you mix potassium silicate and borax together in water with certain amounts you will get a strange white gel... Hello Melving, I agree with you. The corners are too much used or round for the totally new varnish without any signs of use. The corners are has you seen not identical. It's my fault and I think it's a complicated task. The two heavy adjusters are there because the customer wanted to have the violin like that. I know it's not the best thing but It was impossible to change his mind. I only made one strad model in my life and I prefer to try a lot of new models. Thanks a lot for the comments. Hello AMORI, I agree that It's really glossy. I cannot send sound samples because the violin is unfortunately (or not !) already sold. It was an order from a customer. I don't have any real side view of the violin. I only have a 3/4 view attached to this message. If you want to check if the f holes are parallel to the sides, It's the case... The color between the table and the sides is strange on the picture but it's happening when you try to make pictures with two different light types. The color is normal on the real violin. Bye and thanks for the questions and comments Richard
  10. Hello Michael_Molnar, Thanks for the comments. The sound is not bad. Powerful but not too much. Regular tone and volume between all the strings. I think that It's a good chamber and orchestral music violin. It's surely not for a soloist. The tone of the G string is not deep enough I think, but it's a completely new violin ! I hope it will become better with the time. Hello Salieri, Here is my varnishing procedure. Please let me know how you do or if you think that I am doing something wrong. I think that my varnish is a little to opaque with too much pigments and too thick. My ground (Always with UVA und UVB when I don't work on the violin) -Borax mixed with water -Potassium silicate mixed with water -Linseed oil with kobalt -UVA and UVB My sealer (Always with UVA und UVB when I don't work on the violin and sanding between the coats) -3 really thin clear oil varnish coats -2 really thin amber/green varnish coats My varnish (Always with UVA und UVB when I don't work on the violin and sanding between the coats) -Glazing with oil paint (Brown pink) -1 really thin clear oil varnish coat -Glazing with oil paint (Brown pink + Lasur oxid red + Asphaltlasur mixed together) -1 really thin clear oil varnish coat -Glazing with oil paint (Brown pink + Lasur oxid red + Asphaltlasur mixed together) -1 really thin clear oil varnish coat -Glazing with oil paint (Asphaltlasur + Lasur Brown mixed together) -1 really thin clear oil varnish coat -Glazing with oil paint (Brown pink + Lasur oxid red + Asphaltlasur + Lasur Brown mixed together) -1 really thin clear oil varnish coat -Glazing with oil paint (Brown pink + Lasur oxid red + Asphaltlasur + Lasur Brown mixed together) -3 really thin clear oil varnish coat -French polish with Benzoe and alcohol
  11. Thanks Doug ! I was inspired by a violin made by Carlo Tononi in 1725. It's not a copy because I modified the model of the body and my work was based on pictures. It was only a inspiration. I also think that the head is a nice model. Richard
  12. 37210 Madder Lake, dark, very lucent 37214 Madder Lake, more pale than 37210, very lucent 37217 Madder Lake Violet-Brown Hello Melving, Thanks for the information. There is three types of Perego Madder lake pigments in the Kremer catalog. I am planning to use the number 37214. It's a really nice and pure red. I already have a colophony/oil varnish in the amber/green tone that I would like to mix with it. I want to cut a little bit the pure red of the pigment with something darker. I am not sure if it's a good thing to work with pure color like this one. I am affraid to get a artificial color at the end of the varnishing process. I've had bad experiences with pure basic colors (Red, orange, yellow) in the past in varnish. What the Maestroneters are thinking about that.
  13. Hello everybody, I would like to know how you find my last violin. You can send your opinions, questions and critics without any fear. I also want to share these pictures because a lot of you shared a lot of information that helped me on this project. I am sorry about the pictures because they are not really perfect. Richard
  14. Hello Melving, I have madder lake from Perego in the workshop and I want to try it. I do not feel sure about the way to incorporate this pigment in my varnish. Do you grind or mix the pigments directly in the oil varnish or should I work a little bit like in a past 2005-2006 strad article about grinding pigments ? It would be also interesting if you share a little bit of the commercially available shortcuts to nice violin grounds. Bye
  15. Hello Geerten, The quality of the varnishing surface and how clean is the surface are also really important. the quality of the wood surface and between the coats. I've had some problems in the past with that but I don't think that it's only your problem for the moment. There is maybe something wrong with the products that you are using. Be sure that you use exactly the same products like the last time if you already made oil varnish before. What type of turpentine do you use ? Hello others maestroneters, What dryers are you using ? I am working with a similar recipe like the ones geerten uses and I am able to dry my varnishes in 24 to 36 hours with a normal blacklight (UVA). I tried to cook my oil with Litharge (lead based pigment) before adding colophony but it's not drying faster. Bye
  16. I think that it's possible to make something like Lycoboral in the workshop. You need to mix lycopodium powder and borax powder together. After that you can mix that with glue. It's possible to buy borax at Dick in Germany.
  17. Thab Thanks NewNewbie for the internet link about OLD WOOD products. I will also thank you later in the year 2306 if my violins are looking like a Strad. Hello Benjamin and David Tseng. Look at the site to learn more about OLD WOOD products. http://www.oldwood1700.com It don't seems to be only potassium silicate. It's a more complicated process.
  18. To find the products from FEL (France Europe Lutherie) or the distributors you may try to contact them directly. The company don't seems to be always really professionnal in the way they are doing business, but they offer nice cases. They also sells violins, accesories, tools, etc... I think that they only sell to violin maker shops or distributors and not directly to the customers. France Europe Lutherie B.P. 5 1, Route du Peu 41400 Monthou sur Cher France Gesch. 33 254 /714326 Fax geschäftl.: 33 254 /713067 E-Mail: france-europe@wanadoo.fr
  19. Hello Magnus and Maestroneters, I don't know about good or bad acoustical results using those products. I guess that it's better to use that, instead of using shellac varnishes or linseed oils as a ground. I am planning to try ID on the next instrument but I don't know much about the product. Does anyone knows about the elements found in that product. Magnus, you spoke about "Old wood". Is it still possible to buy this product somewhere ? Recently, I tried to find the company on the internet but I did not found anything about it. I've already seen some wood samples with a coat of "Old wood" in a old Mondomusica commercial fair in Cremona. The results were really nice. Richard
  20. Amori, I know that's it's not the purest solution or technique to use a paint stripper to remove oil varnish on a violin, but it's going faster I think. You don't need a complete weekend to do the job with this kind of product. I know that a renowned violin maker remove varnish like that when he is not happy with the result or to make new varnish tests on a violin. Instead of using steel scrapers, I use wooden scrapers to remove the disolved varnish. I may try with Acetone the next time to see how it's working and if the results are better, but I hope I won't have to strip another violin down. Bye
  21. Hello Amori, Maybe it's going faster if you use alcohol to remove alcohol varnishes or a commercial chemical product in a gel form if you need to remove oil varnish. I don't really know how I can call the product in english. Maybe it's a commercial STRIPER... It's working really fast but it's not really good for your health... It's made to remove paints or varnishes on furniture. You can find that in a regular store for woodworkers.
  22. rb_quebec

    is it french?

    Hi Anne, I really don't think that this violin comes from France. Austria seems a good direction, but I am wondering if a German connection is also possible... Unfortunately, I don't know much about the Dutch violins. I find that this type of violins are really nice. They also often have a nice and pleasant tone. A side view of the scroll and table/back would be appreciated.and helpful for identification. Bye Richard
  23. I would like to make a cello inspired by Montagnana but I am searching for more pictures and informations about a specific model. The model is of 1742 and is now in the possesion of the Jarnaker or Järnåker foundation. I already have the technical documents and pictures made by Cremona books, but I would like to have more pictures and informations if someone can help me. I was not able to find anything on internet about this cello. Thanks a lot to you all.
  24. Hello Nonado, Do you have some names of Metallized dye stains that you know and tried ? I just want to know more of what you are talking about because it seems interesting. Do you mix thoses stains with industrial/modern varnishes or is it possible to mix them with more traditionnal oil or alcohol varnishes ? How do you mix the stains with the varnish or what's your procedure ? Thanks
  25. Dear Erable, Here's the address of two serious violin makers in the south of France. They are able to give you more details on your cello. Mr. Hommel is a serious expert in the south of France and it's sure that he seen a lot of instruments made by Richelme. I don't know if they speak a fluent english, but I think that you are able to speak french. Richelme made a lot of instruments based on the same model has your cello, but sometimes he made a lot of decorations on the backs of his instruments. Good luck for your research. Bye. Richard. Charles-Luc HOMMEL LUTHIER 27, rue Francis DAVSO 13001 MARSEILLE Ouvert du lundi au vendredi de 8H30 à 12H00 et de 14H00 à 18H30 Samedi sur rendez-vous Tél. 33 (0)491542778 Fax 33 (0)491332004 E-mail : "mailto:charles.hommel@wanadoo.fr">charles.hommel@wanadoo.fr http://www.luthier-hommel.com/ ALLAIN Pierre Luthier 1, place Pellegrini 06300 NICE Tél: +33 (0) 492 000 670 Fax: +33 (0) 493 569 597 allain.et.gasq@wanadoo.fr