Jerry Lynn

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About Jerry Lynn

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    Williamsport, Pennsylvania

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  1. Violin neck (side) concavity

    David, When adding in cross grain reinforcement, I gather you are only now allowing for a few mm of settling now?
  2. Cedar top repair question

    I'll go out on a limb.... I've done one patch on a cedar top, and that was in the upper block area. For that repair I used spruce because I didn't have cedar either. Hindsight being 20/20 I wish I had the resources at the time to find cedar of a similar type. (Resources being the ability to call colleagues I trust who may have some lying around.) When replacing wood I think you get the most longevity from the repair by matching the characteristics of old as closely as possible. If I were to come up short on finding a suitable match for cedar, I think I might be inclined to use a lower density spruce.
  3. Aluminum hydroxide and wetting agents for filler

    Probably closer to syrup, though I vary the application all the time dependent on the void. If i'm using something with copal I'll let it thicken up in my retouch dish before applying. Regardless if it's done in thin layers, or in a thicker bead, it needs to stand slightly proud so you can mechanically trim it. The examples you posted are not what I would call forgiving to retouch. Where in colorado are you?
  4. Aluminum hydroxide and wetting agents for filler

    Hi David, Aluminum hydroxide doesn't necessarily have to be mixed to a super chalky consistency to be effective. A colleague in the UK was having a hard time making it work, I think we determined that the differences in the retouch varnishes we were using was the cause of test as you describe it not to work. Essentially, you want a fill varnish that stands up proud in a void (for further trimming lather) than one that sinks and leaves a dip. I would use that as your standard for testing, not necessarily one of opacity. Furthermore, some have found aluminum hydroxide to be too soft, or too opaque to be useful for their purposes. Copal can be a wonderful addition in a fill varnish as it is clear and gets immensely hard. Note that the window for trimming copal is very small compared to AlHO3, or thickened deft. As with anything, testing application and trimming on something that doesn't matter is necessary. As to your question of color concentrating at the edges of the chip, is it possible that you are not "level" with the surrounding varnish? Or, that you are working "too wet" with your retouching? What type of instrument are you trying to retouch? Jerry
  5. airbrush recommendations?

    You have more control with a double action airbrush than a single action.
  6. mini lathe recommendation for making buttons

    Unfortunately, I'm not certain.
  7. mini lathe recommendation for making buttons

    Those things are beautiful, they don't show up much on this side of the Atlantic.
  8. mini lathe recommendation for making buttons

    Sorry, I should have been more specific: carl1961 posted a pic of Sieg mini lathe, judging by the color one from harbor freight.
  9. mini lathe recommendation for making buttons

    I'm not a "bow guy," but I am a "lathe guy".... my thoughts for what they are worth. Sherlines are excellent, the difference between the models has mostly to do with bed size and whether you want metric vs. imperial. They have reasonable rigidity for their size, however if you plan on making custom cutters light cuts might be in order. For a lot of the bow makers/restorers that I know the ability to pass a stick through the headstock is an important one. I believe the sherline will do that if you have the factory make a custom headstock for you. I believe Josh Henry has specs on that. Otherwise, I think there might be an after marked headstock maker that is producing a custom collet headstock that has a large enough through bore. A number of bow makers that I know also have Emco lathes, the compact 5 & 8 are beautiful machines. The sieg mini lathe that Carl posted a pick of is close to the size of a compact 5. There are various importers of that lathe that have them made to various specs. A colleague in Michigan has said good things about the Little Machine Shop Hi-Torque version of that lathe. I also know a number of bow makers that use peerless watch maker lathes to turn buttons.
  10. DIY string jack

    Perhaps it's just me, I only ever really use a bridge jack when I'm switching out summer to winter bridges on 'celli and back again. If I'm taking the bridge off of a violin it's usually to cut a new one, fit a new post, dress the board, change the after length - making the need to keep tension on the instrument not critical or impossible to maintain. What are you all using them for? I will admit to wanting a vintage wurlitzer bridge jack, mostly for "workbench bling."
  11. Rust inhibitor/prevention suggestions

    Like David, I keep a consistent range of humidity in my shop, and rust on seldom used tools has not been a problem. For the plane I use maybe once or twice a year I go the extra mile and put it in a silicon impregnated "sock."
  12. Top Plate Off...Almost

    Sure, if not sooner!
  13. Top Plate Off...Almost

    To start, it might be easy enough to test by gluing together two non-wooden surfaces and trying to fracture that joint with alcohol.
  14. Top Plate Off...Almost

    A few thoughts come to mind for me, not necessarily for this situation but in general: 1)Knife shape definitely plays a role in how well it works for top removal, especially where blocks are concerned. All of mine are ground into a wedge shape as if they were to actually made to be sharp (but not). They are highly polished to provide the least resistance when moving through a joint. Likewise, I also use two polished pieces of wedged shaped feeler gauge stock when relying on solvents in a longer joint. You can place one in the joint and carefully and delicately bring the other one underneath to apply light pressure whilst utilizing an insulin syringe with alcohol. If you hold on to the barrel of the syringe the heat from your hand alone will advance a tiny drop from the end of the needle. This was a trick from one of our guest instructors at oberlin a few years back... 2)An LED light dropped into the instrument at the end blocks greatly aids seeing the joint to make sure you are lined up with it. 3)Is there a pin in the way of freeing the lower block? It may need to be cut if you can't lift it out. 4)On the level of instrument such as this, if the saddle is really that stuck you might do less harm to the instrument by carving it out. Likewise, carefully drilling out a pin with a small diameter twist drill in a pin vise might be a safe way to go. Also, there can sometimes be a layer of polish mixed with dirt/rosin/musician bits encrusted around the saddle. Lightly scoring this layer of crud can help with saddle extraction. 5)When testing solvents go slow. Some like vinegar (acetic acid) for white glue take some time before you'll notice palpable results.
  15. Violin neck length 10mm to long?

    It's difficult to tell in the second picture - If you were to hold a small square at the nut end of the fingerboard, is there much clearance between the square and the chin (cul de poule)?