Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

  • Days Won


Everything posted by jezzupe

  1. Bruce Sexauer , who's a pretty up there kinda maker explained to me that those aren't any good because they are too resistant to water if repair is needed, I kinda buy that logic, most of my guitar necks are multi board laminates and I use yellow glues in those cases too. And ya I suppose the post does put something into the equation
  2. Not that I use it for much of anything, but, I guess the thing that always gets me is when I entered "guitarlandia" I observed many "high end" makers using not just "yellow glue" but white elmers as the "standard" for a large portion of the glue up of their guitars, now many of them use hide glue, but white glue seems to be "standard" in the construction of guitars and they certainly are under load. I learned the hard way related to finger board to neck glue up, being convinced the hide glue was always best, but in that case it is not, truss rods put too much force in just the kind of way to fracture the hide glue bond, so I find regular titebond in that case works best and does not fail. So again a guitar has quite a bit of consistent force applied and many of them are made with white/yellow glues and we don't see them necessarily falling apart. I don't think the glue knows it's gluing up a violin so it should fail when a guitar won't. I still use hide glue for the majority of glue up for both bowed instruments and guitars. But all laws of physics applied equally I would think we'd see many more "10 year" guitars if those types of glues were so prone to failure.
  3. Oh, ya ,well, we just like to see people suffer the old fashioned way
  4. Which reminds me, then of course we could throw in the Dremel rig/jig or the Foredom as an alternate. I always like to have options and I'm not opposed to either or. I do think beginners should go through the motions of being able to execute channel carving the traditional way, but, on the other hand there's nothing like a good LMI or Stewmac downcut bit on a properly set up jig, depending on what your doing, for example if I'm doing a guitar with a very hard material I don't mind "cheating" a bit. I know of two violin makers who primarily use "rotary" as their main "thing" mostly due to wrist problems. But I don't think there is anything wrong with even if you don't, it is faster and easier and as long as you have primo bits you won't get any burring. I'm sure there are some in the "wood has feelings" or perhaps "traditionalist's" {not that there's anything wrong with that} category that think rotary along with sandpaper and electric saws are fundamental sins and that the violin police might want to bring you down to the station for questioning, but I think anything that helps you stick a fork in it is ok and heck the two that I'm aware of that use rotary{excluding myself} are pretty up there if that makes you feel any better about "cheating" But I do suggest a good jig that does not rely on "freehand" control, that's a good way to eff shi up.
  5. "It was like Catcher in the rye, I thought to myself, if I can only just save one" I hear some low quality schmaltzy violin playing in the background , somewhere in the distance a whippoorwill cries out
  6. I think what I was getting at is that if you dip your middle index and thumb into the glue very shallow, like a 1/2 " for a half second , that most people can handle that and then simply extrude the purfling thru the fingers. You do not need to be speedy because your not trying to glue the purling to anything , just coat it with glue, as if it were paint....you can use a brush, but I find it wasteful and potentially messy on the wax paper , and well just applying with fingers uses the least amount and seems to apply it the most evenly, then obviously clean your hands when done ....I mentioned the heat thing because some people are way more sensitive to heat that others, I suppose dependent on how calloused ones hands are
  7. Your original insight is correct, and that once varnished and perhaps with some extra attention with a filling varnish it should look ok enough. So before you go and try to do something like dutch on a piece of wood to make it bigger and fill the gap, I will simply say that a "modified" version of the Hargrave method will save you or at least make the job manageable. The Hargrave method, which I named after Roger Hargrave, involves pre-painting or coating the purling to be used , installing it, then brushing on hot water to activate the glue, this give one all the time to get it right and does not make a glue ghost nightmare....so in most cases under normal circumstances we would want to apply the glue so it it is very thin{but adequate} so it will be a snug fit in the groove { I always suggest making pre glued {swelled} pieces to use as a gauge for sizing the channel, just as much a pain when it's the other way around being to small. But in your case instead of laying the glue up thin, you will be laying it up thick and may even do 2 coats. I suggest wax paper, with plastic pens for stickers and to simply dip three fingers into the glue {if you can handle the heat} and extrude the purfling through your fingers with a little twirling in order to coat all the surfaces. By building up a couple of layers of glue on the material you will greatly increase the dimension and make it so it will stay put when you are trying to fit and cut it, pre clamp strategically, then apply water and let it dry. All the low spots will sink down where there are gaps and it will return to looking small in the groove, but it will stay put, and then as you progress with the varnish it will smooth out enough and if you need to toothpick in some filling varnish before final coats it should work well enough to be good enough to move on to the next one and get it better next time... Always use just one side of the cutter and the do the other, don't try to get two channel walls in one cut, and don't use that tool for anything but shallow scribing of the line, they call it a cutter, but it should not be used for that, just a shallow cut that THE SHARP ASS FLAT SHOULDER KNIFE YOU USE WILL FOLLOW...You will have more success using a good knife freehand once the initial cut has been made with the tool, than using the tool to try to do the cutting, which is what it looks like you did. To see if this will work simply coat 1 piece before you commit to it all and see if the extra glue makes it fit snug enough for it to work
  8. It's not the size of your shop, it's how you use it
  9. Here, just , well, because. I really like their interpretation and particularly tempo's . I think he's a really very good soloist, keeping in mind these are from when he was a much younger man, but well, this is the kind of guy I want making my strings , ya know, vs a former used car salesman https://www.youtube.com/watch?v=Zc6g6J7ZULQ
  10. Strings to me are such a personal "minutia" type thing that all I can suggest is that you try them out and see, I do feel that strings are "instrument" dependent where Evahs may sound good on that violin, but not that one, for example. I do think Warchals offer a very good product at a very good price. The only gripe I would have that is because they are a younger and not as big brand name they can be hard to find locally, but they are pretty easy to find online. I think as time goes by you'll see their distribution grow.
  11. I'd 3rd the Warchal's. Bohdan post's here on occasion, and has some very good information. Beyond the fact that he put lots of time and research into the engineering of the strings , he himself is very competent, may I say extraordinary soloist himself and has quite a career in Slovakia where he is very engaged in playing and so he certainly knows strings from a more intimate players perspective....which probably has a lot to do with why they are so good.
  12. My take on this is that the hall size, shape, seating architecture and arrangement, temperature, humidity and materials {related to reflective/non reflective surfaces } ventilation systems and air flow directions as well as the amount of people in the hall and the listeners coordinate, throw in massive variables and due to all these variables that any given violin {or any other sonic performance} will fluctuate all over the place as far as "perception" of amplitude at a distance. all leading to the potential of any given violin projecting better or worse depending on all the various conditions and differences in conditions from room, to room, hall to hall and that each performance one may think of as "memorable" as far as how the violin projects may be "not thinking" about the hall and conditions and how those things could help or hinder perception. Or in any "listening event" just how much of that is the violin and how much is the room and conditions
  13. I think it looks great, I'm not sure what criticisms Andreas has, but for the first after a 25 year break I think it looks very good
  14. I do not think the force applied however is in the crossgrain, the force is "cleaving" and I do not think it would hold over time, but I don't know for sure, that's a test I have not tried simply because tailpieces in general are cheap, but I should try that sometime for the "desert island emergency repair test" to see if it would work, I have a feeling the G would be more successful than the E
  15. No, but I wouldn't mind noodling around on one... <:/rimshot/:>
  16. Ya, but it's still full of poison and I like to think that one who is working on "antique furniture" would have a glue pot and know how to use it , and that it would be a warning sign to me if someone wanted to use it, it would be more like "some guy who wants to get into antique repair" The same way it may fail on an instrument, it may fail with furniture, with a violin, someone will have a bad day and get upset, with a chair, catastrophic structural failure could occur and someone could get seriously injured The only real use I see for this is parquet block inlay where I would be on a site that is cold and would not want to have to babysit a glue pot for 8 hours, it's good for weak temp joints for tracing, but even then some tapes are more convenient, particularly for vertical stuff I just see no reason to expose myself to poison when there is a better more natural product. I think it is products like this, metholated alc, stoddard solvents and all the other little "well I'm just touching it for a second, or I'm just breathing that for a second" but doing it several times a day over the course of 50+ years , suddenly we have liver,kidney and cancer problems , let alone sensitization issues that effect the quality of life. I think it is the responsibility of older craftsmen to steer potentially younger people who may be getting into "woodwork" in some form away from products like this and to get them to think about cumulative occupational exposure and the dangers they present and to always go the extra mile to use safer better products if they are available.
  17. Hmm, more "information" about the "pre-established benchmark" being compared to copies of the established benchmark presented in a periodical which is named after the benchmark, ha, pretty soon you'll be trying to sell me a jpeg for 2 million dollars ...."but, it's an original", well at least you get something tangible with your psychological manipulation with the Strad.
  18. well, not only does this glue suck because it is questionable how well in works over the long run as compared to "regular" hide glue, but in it's class {cold bottles of glue meant for gluing wood primarily} it is one of the most toxic ones available with the FRAT test (Formaldehyde Release Attenuation Test) charting rather high. So with these things one can say either it's one more toxic thing you expose yourself to or one less, I really don't see any need to play with formaldehyde when heat and water will get you there. Slogans like "for every second you save we'll take it off your lifespan" seem to come to mind
  • Create New...