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Darren Molnar

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Everything posted by Darren Molnar

  1. Thanks for reminding me of the Stauffer Ed, and also the Cozio data base. That is relatively early in the history.
  2. I thought the Amati workshop produced two sizes of violins, a large viola and a large ( by todays standards) cello. Did the Amati family make smaller violas too?Are there any small ones that have survived?
  3. Thanks David for the number, I'll call
  4. Hey cousin , can you put in a good word for me with Susan, I've tried to register with her at Taylor with no luck. My money worked at their booth in Cleavland, but since then,,,,, Edit, ah sorry all, I didn't read the thread past Mikes first post. Didn't realise it was getting on to serious subject matters.
  5. this is used in the autobody repair industry to repair plastic parts, a huge selection, you'll only need one or two of these to repair your cases. It's very strong and durable stuff, stronger than what you're repairing in most cases. http://www.autobodys...tegory-s/79.htm
  6. The first bit of this doc. shows some goat hybrids invented to produce spider silk in their milk. Mind blowing stuff for when, or if, we need a larger supply of spidey strings. http://topdocumentar...om/playing-god/
  7. Maestronet got Trololo'd! Har Har! I'll count my blessings we weren't rick rolled instead
  8. How do you prevent blotch on the spruce with your method? Also, when antiquing, how much can you manipulate, rub, wash off, strip off varnish layers and still have the wood colour remain?
  9. Well said CT, and I think could be said of all aspects of violin making. I wish I could have back all the YEARS I personaly wasted not concentrating on the BASICS. It took me way to long to realize that workmanship and style and tradition are paramount, the rest,,,,,,,
  10. And I'll also add that I was much happier with my stuff until I saw Jeff Phillips' wood colour in person, and a few other contemperary makers together at 2010 vsa-palluza.
  11. Fun,I'll bite. I want the wood to have a darker value, to look "old" and I can't seem to get spruce darker with other methods (stains) and not have the top turn out blotchy. What do you have when you are done? Fair to so-so results as to lowering its value.It's much better than bright white wood. I can achieve non-blotchy tops this way at least. How well do you like the visual effects? It's not as great as I'd like, I loose a lot of clarity,"sparkle" ...as compared to what? To having my cake and eating it. Darker, older looking wood and no loss of depth or sparkle. Have you achieved lasting effects? If so, what? The wet chemistry does fade a bit over time, but I haven't experienced the wood ever reverting to its original bright white. For me, I'm putting up with the negatives solely because I can do this and not have a blotched top. Any ideas Joe?
  12. Darren Molnar


    Very late one night, after a long long day, I picked out some spruce from the pile that looked about sized for bass bars. It took me an hour to figure out the piece was slab cut. And only after I planed it to thickness, cut to length, and rough fit it. Once I got into the fine fitting things just seemed impossible to get working right. It finally dawned that My knife work,scraping, file work was creating a wash board surface. The wash board coming from the soft growth/hard growth differences. Doh! A good lesson to learn, though. Slab cut is harder to fit accurately, and so (for me) not worth worrying about.
  13. Dude, you're already here . Start a thread asking about the differences between a few different makers on one paricular element, then keep creating different threads about other particular elements you'd like to know about. There are some world class restorers here who are wonderfully generous with their photos and first hand experience.
  14. Happy to contribute, hope it helps. I was rubbing out a viola a few winters go and could feel the static on my arm hairs. I think it was an amber varnish. Over thinning a stiff varnish could be a factor as well, have you tried varnishing stiff varnish with a stiffer brush? To get a heavier coat. A theory goes that if the varnish film is thicker than the dust particle, you won't have any visible dust in the coat. As long as the surface tension of the coating isn't working against you. This comes from my days as an automotive finisher.
  15. How dry is your workshop? Rubbing things between coats can make things worse sometimes.
  16. I heard a talk given by Andrew Dipper a while back. If I understood it correctly, he may have suggested that the sealing layer was originally developed for the decorated Amati instruments. The layer was there to allow the wood to have the figures painted and the guilding done before the varnish was applied. I have no dog in this fight, I just thought I'd share a unique and interesting observation that came from someone that also has a great deal of research and observation behind him.
  17. Wow, impressive Antoine! I saw your work at the VSA competition last year,I spent an awful and awe-full long time looking it over.
  18. Looks like Joseph and I had the same question and were writing at the same time
  19. I don't doubt its authenticity. And congratulations Dr.Pong on being such a generous patron. I know a couple of Prof. Crow's former/present students. His new position is well deserved and has generated quite a bit of excitement. This is one of the (frequent) times I wish I was an insider. I'd love to know the history behind how this Del Gesu sat in pieces for so many years and was relatively unknown/forgotten by many.
  20. not before a couple days ago, here is some more info on it, http://www.tso.ca/Media-Room/1112-Season-Overview/ex-Wm-Kroll-Guarneri-del-Ges-1738-violin.aspx
  21. Koens primer on this one,I've tried a lot of different things and still not happy with many of them. I've seen some impresive instruments done with Joe's "stains", that's what I'd like to try next. But the credit cards a bit full right now. Here's the violin post ground, pre varnish,
  22. Thanks Ernie, I use the doratura marrone and brescian brown varnishes, I've tried the doratura rosa before and, for me, it just fades out to nothing after a while. I haven't tried the other varnishes he makes. I also use their "paint" 1708 and the madder dry pigments. I thin with Sansodor solvent.
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