jezzupe

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About jezzupe

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    http://jessupegoldastini.com/
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  • Gender
    Male
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    bela marina
  • Interests
    I used to do other stuff, now I just make violins

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  1. jezzupe

    The importance of varnish

    that's pretty swarthy, or alcohol and drugs....long gone are the days of angel heart
  2. jezzupe

    The importance of varnish

  3. jezzupe

    The importance of varnish

    Something I;d like to add to this; it seems to me "funny" the emphasis that violin world has on varnish as compared to guitar world... In guitarland, varnish or the finish is hardly ever mentioned, and if it is, modern finishes that would be used in homes, furniture , etc like nitro, alykds and polyurethane are standard and normal....a "french polish" is somewhat consider "old school" but all in all in both makers and players eyes varnish is a non issue and is expected to have that bowling ball dead flat shine , they don;t care what it is... One of the top makers in the country who I know simply uses a specialty polyurethane out of a can, sprays several thick coats and aggressively buffs them out, I have seen many of his older guitars, and yes some of them have yellowing form uv exposure, no one gives a crap and people will regularly spend over 10/15k for one of his used guitars...a trend I don;t see slowing down and the values will probably increase and the funniest thing about this is that to me, as a person who builds both violins and guitars , between the two instruments, the guitar is MUCH more effected by the type and build of the varnish than a violin I think for most guitar makers it is a challenge to up sell varnish and to make it seem like something that they should pay extra for.
  4. jezzupe

    The importance of varnish

    Ya I'm just speculating on the "intent" of why something may or may not be there. beyond that fact I'm not sure how one could tell if some substance was found trapped in open pores , that it could be determined that it was put there with intent, was not the by product of some maintenance varnishing touch up and or was applied by the original maker. But what ever the case, I just don't see varnish as having a monumental effect on an instrument tone. what I look for is a predictable expected change in tone that allows me to predict how it will work with what I've carved, but above and beyond that, something that will look good and preserves the wood from exposure to the world
  5. jezzupe

    The importance of varnish

    I much prefer "Swarthy" like "that violin sounds like a Swarthy Sardinian Sailor with a knife"
  6. jezzupe

    The importance of varnish

    I don't either and if one was used it was used simply for aesthetics, consistency and predictability. Aesthetics because a grain filler makes the instrument finish appear flatter, no grain telegraphing, these fillers may well have been used for inner coat abrasion as well therefore aiding the consistency of the optics , and the filled pores will act, and or the instrument will dry in a much more predictable way... The powder that fills the pores helps trap/contain the varnish in a way that makes the varnish dry more evenly and not have out gas issues... or simply if you took two glasses of the same size and filled one with very dry sand and filled it with varnish ontop the sand, and then the other just filled with varnish ...the cup with the sand and varnish will dry out much quicker and much more even rate of speed than the cup of just plain varnish, which would skin over and dry from the outside in very slowly....with something like volcanic pumice or POP, they can be very absorbent and easily suspend the varnish/ground which really aids to even drying. I feel every little thing they could do to ensure dry times, particularly in the winter ,was done. So imo there is a lot of logic behind grain fill and or reasons to do it but I don't think there was any intent on it being "the secret"
  7. jezzupe

    The importance of varnish

    Nice to see you Michael, all I can add is be careful or you'll poke your eye out, or melt off your face. I certainly hope that anyone who adventures into cooking flammable materials has properly educated themselves and taken all necessary precautions, including having already written the will
  8. lots of this gets into the base color of the wood itself. In my experience woods that are a darker base color bleach out quicker than lighter base color wood, walnut comes to mind as an example. Based on experience with wood floors I'd say that sometime after about 1 1/2 years of on off over exposure to uv on raw wood . Just a rough estimate Also I don;t think a uv box, unless full spectrum, would mimic the suns a,b,c bands of uv, so over exposure to a tanning light vs the sun are probably two different things
  9. jezzupe

    Is this an interesting violin?

    It might demonstrate triboluminescence if you smash it, that'd be interesting, honestly it's kinda face only mother could love'ish, but maybe you love it, so there you go.
  10. jezzupe

    "easy"-to-apply varnish?

    I agree that spar would be the easiest and cheapest, and most likely sufficient. I would still seal / ground it with shellac however
  11. jezzupe

    The importance of varnish

    This harshness thing is something that I don't think we've discussed much before, my "description" of this "sound" is difficult to describe. To me what "we" are talking about, or what I call "hearing the hair" ... The elements of it are, "what is this violin "sounding like" as it's played, listened to up close, and I'm not talking about the notes coming out of it via the strings, I'm talking about the by product noises such as the hair raking across the strings, the "squeak" or percussive noise that come out by just adjusting the hand in a position change, and or quite simply if there was a mute button that made it so you could cut out the music part coming from the strings and just hear all the other stuff that is generally only audible up close mixed with the music coming out. So it is these elements, with a particular focus on the sound of the hair across the strings and a certain "grainyness" of that element , as if there were little bumps on the hair causing small slow down of the speed or little micro hair pops as they hang up slightly as the bow is pulled. All of this seems to be centered around what I call the sensitivity level of the instrument, So sensitive that the "princess and the pea" effect is noted in the sound ,in that it is so sensitive that it picks up tiny discrepancies in the texture of the bow hair, that translates as a certain "harshness" , particularly when listened to up close, these are the instruments that project and travel the farthest and also the ones that the sound "smooths out" after traveling through xamount of air and at xamount of distance that allows for the "body" noises to become inaudible. and varnish is the final tweak of this element if everything prior to that point was done right, as suggested by being the final "knob" one can turn on the damping,
  12. jezzupe

    "easy"-to-apply varnish?

    If you want a fast and simple'ish system....I would do the following 1. go to a quality paint/hardware store....purchase 1 quart of "SEAL COAT" wax free shellac by zinnser....it must be the shellac called "seal coat" not their regular shellac,,, find a disposable container put in seal coat, add the same amount of denatured alcohol in with the shellac to make a very thin watery solution... Apply one coat. let dry on hour....apply second coat, let dry over night.... Contact Joe Robson and buy some of his varnish, he has several base types... Joes varnish is VERY easy to use IF you understand the best way to apply it which is with your hand, and forego any brush work...a small brush will simply be used to transfer the varnish from the container { and tight spots}, after blobing several blobs of varnish with the brush about 2 to 3 inches off the outside edge, use your raw hand, and smear/squeegee the varnish on the instrument in some systematic way , after the varnish has been smeared/spread out as far as it can go, stop squeegeeing and start methodically tapping the varnish you spread out with the meaty part of your palm, this tapping acts as a stipple, and makes for a perfect dead flat , yet attractive "texture" that will dry in very nicely....the repeat the process until the instrument is done....the front is more difficult that the back with the holes and fingerboard ,,,,tight areas and areas like where the plates meet the ribs, may need some brush work to get coverage, but even then, tap,tap,tap it all out....after dry use a wool cloth or 2000 grit sand paper to lightly abrade the work, tack/clean and then repeat the process being a cello, the hard part is manhandling the thing while your coating, you can either set up a rotisserie rig, or just take your time and do it over time by doing the back, then the sides and scroll the the top... if you are actually going to try to do this, feel free to contact me and I'll do my best to try to walk you through it
  13. jezzupe

    The importance of varnish

    http://esomogyi.com/internet-lutherie-discussion-forums/ I think if you read this blog by Ervin Somogyi, past the part where he talks about me near the bottom, you'll get a whiff of what I think eventually becomes the crux of it all for anyone who "makes it"
  14. jezzupe

    The importance of varnish

    The importance of varnish on violins has the same importance varnish has on any other wooden object, and the roles are the same, I think the real problem with the world of violin is that it somehow got the idea in it's head that it was somehow different than any other wooden object and that it's role was/is somehow more complex. I am not suggesting that the type and or application of said varnishes can not,or do not alter the final outcome related to tone, just that's importance is more about preserving the wood than steering or controlling the sound. anyone who has done this for a bit knows that there are 3 basic states of an instrument that apply. 1. the just finished instrument that is "white" 2. the freshly varnished/set up instrument and 3. the final cured varnish on the instrument. At each of these different phases {some may not even experience #1 as they precoat as they build} the instrument will sound different and unique, of course with the real concern and emphasis on #3. I'm mostly into optics and I must admit that the varnish I like the most hands down is Joe's stuff, it very versatile {it has a learning curve to understand it} very economical if used properly {part of the learning curve} and above all I just can't find anything {including my own} that looks quite as "luxurious" as it does.
  15. jezzupe

    Oil varnish sweating

    remember, sniff the violin but don't smell the glove....in general atmospheric conditions during winter can be damper and things can take longer to dry, are you in a damp shop, or a controlled shop? these things make a difference, varnish dries different in damp cold air than it does in dry hot air....also too much direct heat can make a varnish that was drying ok start to not dry ok and form bubbles . there is a degree and amount that a varnish in a pore can be dry/damp before it becomes a problem, a pore that had a wee bit of sticky varnish in it may over coat fine, only to start rapid hot air ballooning evaporation if heat is applied... so use of uv lights must be measured as well, they speed/are needed to aid drying, but can cause problems if used wrong, basically heating the wood too much and causing evaporation...