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carlkenyon's Achievements

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  1. Hello, Not to get to far off topic , But I have a "1880 Gohl " cello, I had thought it was not genuine since it had inked on purfling. Your description would lend to the idea that it is genuine. I was not aware of this thanks Jesse . carl
  2. Hey, This is important stuff!!! (1) Seth Leigh you are the mastic maker with the photographic talent to beat all, I confused the little emblem (the picture thing) since yours and Matt's are so much alike. I apologize. My mastic varnish is ready and waiting to use from that thread , thanks Mignal , on danger, I hope its not that dangerous., But " that's where the fun is" Fiddlecollector, I can only get say 69% ( I can find that, I hope they will sell it to me) so I will use that. It seems better then the explosive stuff anyway. Manfio , Yes I am a beginner, but I feel the varnish and the instrument cannot be separated, also I am not in any rush, so I just explore where ever this road takes me . It is crazily expensive as you know. Thank you for all your input, carl
  3. Kermer is a great source, thanks. Utrecht has resins too carl
  4. Hello, The quest for the perfect varnish is very exciting. Everyone seems to have a different way to make their own. . I have made the Darnton Mastic varnish from the last large post from MATT (lets make some mastic varnish). Now I intend to make varnish from Lyndon J Taylor's recipe . This is from a recent post ," Cremona Varnish - How too" I think it would be helpful if members could list a source of supplier . for example I got my mastic from , WoodFinishing Enterprises (online). My turpintine from home depot For this next varnish It requires Nitric Acid 90%, I can't find it , I can find Nitric Acid 70% from Renaissance Graphic Arts in Pittsburgh.( it would have to be shipped) . Also ,does anyone know where you could walk into a store and purchase these supplies / resins / rosens/ around the area of Baltimore or Washington D C Maybe multiple stores. Thanks for any input Carl
  5. I have made the Darnton Varnish( mastic varnish),It is simple enough, but still the varnish world is confusing, every maker must use their own formula. I will now try the Lyndon J Taylor Varnish. But it too is confusing!!! Mr Taylor some Questions, IS your varnish 60 parts Dammar Copal + 40 parts pine resin (which one?, Larch, White pine,??) +200 parts turpentine +20-30 parts Linseed oil (or any drying oil) This is your basic clear varnish and also your ground and clear top coat. Your nitric acid color coat is boiled then cooled then you put it in water? I don't follow the water bath, can you clarify carl
  6. Self taught? no one learns in a vacuum. But not everyone needs to attend a school. see David Rubio
  7. hello, Our cello instructor has a very old cello that is in perfect condition. She protects the top ribs and upper back by having the cello wear a bib. This is a simple cloth cut and sized according to what you want to cover ,It looks like a child"s bib (the child would be wearing it backwards so it covers his back instead of his front),except it is brown velvet, it has a brown velvet strap that wraps around the neck and underneath the fingerboard to hold it in place. This cloth covers both upper ribs and upper back. She even plays concerts with it in place. Carl
  8. Hello Keith, Bridges are fun to make from scratch . I have made some from ebony for cellos . The biggest pain (without a string jack) is that the soundpost keeps falling over and rolling deep back into the void, takes about 20 minutes to get it out and repositioned. You must go slow removing small amounts of wood and then re stringing the cello and playing a while to decide if you need to go lower with your feet and /or strings. The Fitting is tedious and time consuming but i say go for it. I believe the player should be taught to do this as it is the most important setup that effect playability and needs to be done over the coarse of days a little at a time and that would require many many trips to the luthier. Make a string jack. Carl
  9. Hello Jessica, What would "I"( that is me) look for in a spruce tree. 1) diameter, the largest I could get. 2) Ring tightness (maximum rings per inch)straight grain with 24 rings per inch(that is tight ) 3) I believe you should split the log into billets asap .size some for violins one piece ? two Piece? and size some for cellos 36 x 19 x2.5 4) They should be stickered , stacked to air dry, for as long as possible, the longer the better.I have a cherry log I felled in 2000 , lumbered stickered and air dried , it only improves with age. If you need some right away it could be kiln dried, but purests would scoff at that. 4) glaciers ?? No idea 5) elevation usally improve the tightness of rings so higher is better. 6) dead trees worry me due to insect infestion. If you are not buying the tree then you don't have any risk, but if you have to pay for it , make sure if the wood is unusable you can get you money back. 7) there are thousand of books/articles on drying lumber, but I can't think of any on drying violin wood.I think it is just wood drying. I addressed each of your question based on my limited experience of lumbering ,which is from central pennsylvania, not alaska, There are experts here who will correct me. Also most importantly , make sure you get enough for me too. You are too lucky , I am in the process of acquiring some standing maple, it is like pulling teeth . good luck carl
  10. Hey It looks like a strad to me. A bit fuller in the pelvis and slightly less of an easing curve in the shoulders and the c bouts produce a more tighter curve into the corners. But other than these few changes it is the 1702 strad in the photo section here. I think you should "ruffle the skirts of prudes" so I say cut wood. It would be a test on your ability to match your drawing.(Ican't do that) I would like to see a left upper bout cutout for access to the high notes and a longer fingerboard. But you should do it . carl
  11. Wow Matt, That is very nice. I want it, but i'm making a cello, so it won't work, but the posting of your picture is great in itself as i will enlarge it for my cello cradle. However, what methods are you using now that are working bette?. carl
  12. Brad, Yes , You are correct. Only the first digit is preprinted . Seller has not answered my email question yet. carl
  13. so I thought I would just send these questions to the seller at ebay., I ll let you know the answers. carl
  14. Sorry I'm so late on this, three questions jump to mind, (1) Is it genuine? (2) Who made it? (3) Why is the seller listing it this way? # 1Is it genuine? No of course not. It is stated that there is a stamp in the wood, not a label . The master used labels, he did not stamp his brand. At this period 1713 _1720 the labels would have been preprinted with the first 2 number 17_ _ leaving the decimal and ones place to be filled in by hand. Stradivari wrote in the decimal place one, as a straight vertical line with a dot over top , as in an apothicary notation, (i), and a three or a nine , this looks like a nine to me. So there for this is not a genuine stradivari , we kenw that. #2 Who made it . Some one trying to pass off a forgery ? No, not a forgery but a copy or a duplicant of a Stradivarius , as was the vogue in the 1890 -1920 manufactured and clearly marked as a Stradivarius in a manner that would clearly indicate to everyone it is only an attempt is to copy the master. These were massed produced . #3 Why is the seller listing it this way? There is a charge to list. It is costing him something. Everyone with just the basic knowledge knowsthat this is not by the masters hand. Therefore I propose this is a method to generate interest in a credit offer( no payment for three months with Paypal plus credit card) Just my thoughts. Carl
  15. Hey! I got my shipment of mastic gum resin, and raw linseed oil. I am now eating my way through a jar of olives and hope to be in the process by Monday. Also the Mastic gum is edible. carl
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