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Everything posted by jezzupe

  1. Not a big fan of sizing the channel anymore, I find it not needed, time consuming, messy and as Don points out potentially mis-shapening things. I do the reverse of charliemaine and apply the glue to the purfling that way I'm not slopping on the plate and worrying about deep hidden glue ghosts or unwanted swelling on the end grain particularly. I cut my purfling, dry fit it lightly to make sure everything is good, then coat the purfling, let it dry on plastic pen stickers, put it in the channel, seat it, brush on boiling water , clamp it, and its done, perfectly clean with no excess on the plate. This also allows for glue to be on the end grain of the mitres once activated by water A really good way to check the "does this work good enough'ness" of this method is to simply make several practice channels in scrap material ,with and cross grain, and simply glue in as suggested, then do some sized channels and glue it that way so you have both styles of application, then do 2 types of demo...1 the I don't care demo where you just hack at it with a purfling pick trying to jack it out and then 2 the "restoration demo" where your trying to be careful and preserve the channel and purfling with no damage. In my experience I'm not really seeing a big difference in the amount of force needed to remove the purfling one way or another, this assuming you have a proper fit, so therefore ergo I do it the fastest, simplest, cleanest way that works.
  2. I would suggest a "dark'ish room" and candle light as well as the above visualization methods this way you can rotate the plate on many different axis's, this cast shadows from many different angles and viewpoints, it is alarming sometimes the divets, grain mottle and undulations that can be exposed in these low light conditions. Particularly do this after you think your done done with your edge work and purfling, shadows in candle light are your friend. I think many people who do this contemplated at one time or another "just how hard it must have been with no electricity, to work by candle light" only to find that at final stages working by candle light is one of the best ways to expose flaws and fine tune the final surface preparation for varnish. It is a way to get a preview of the topography or to see areas that may be problematic once varnish is on and also makes you sound really mysterious when people ask what your doing, "oh, I'm just working in the shadows"
  3. I would pop off the top and glue a largish laminated patch in that location and then pare it down a bit and blend it in so it doesn't look too much like the glued on blob of mass that it is and then reinstall the top, all things being equal it should mellow it out if you can get your "blob" close to the weight of the magnet, and I personally don't have an issue with the magnet unless I was trying to sell it. Just tell people it's the history eraser button and to not touch it.
  4. Something tells me at 11 the "real" reason he likes this one is because the lionhead ,because it looks cool , which is a perfectly ok reason. I like the fiddle, just not the fact that it comes from so far away, you should really try to shop local in this case imo so you can have some recourse if something is not right. With these older ones many unseen things could be wrong and really your trusting the sellers "expertise" which being so far away could really be a problem dealing with any issues , let alone shipping problems. As "everything" is "messed up" right now shipping has really gone to crap. Delays, damage and getting lost seem to be way up as compared to the consistency of the past.
  5. Never had any luck with these based on the modern design having auto shut off after 15 min for safety, I do like the pipe tape because you can generally control the temp with a built in thermostat and they are made to run day and night if needed, as well as being able to wrap it tight for good contact. I suppose if you can find one of grandmas "pre safety shut off" blankets that would work
  6. Unless the "coating" is wax or shellac, it will not "melt" and assuming it is one of the 2, they are easily "redone" ...and well if your going to do it right, the fingerboard imo should not be "coated" with anything. It could be "sealed" with an oil or sometimes pumice and a drop of varnish, so as Nathan suggests your probably going to be doing some finish work to get it back to playability anyway.
  7. Heat as suggested by Jeffery may be the way to go, "heat tape" to prevent pipe freeze can be wrapped around hand towel for a cheap "blanket" but you must get the lower temp ones and do need to babysit the project
  8. You don't have any idea how hard it is to walk around and pretend like everything is ok when you have an Ivory tusk shoved up your keister , but there's no way I'm giving it up, besides that's where I hide all the drugs
  9. After tonight , 10/02/2022, I think there will be bigger things to worry about in Brazil than what the globalist's want you to think about. I mean things could smooth over, but probably not.
  10. I use about 3 cups water, 1/2 piece steel wool and about 1/2 an oak gall crushed up roughly.
  11. to make new wood look "grey and weathered" make an oak gall, water, steel wool concoction and allow it to sit for about a week and a half to two, which, less a thickener such as ground eggshell is basically iron gall ink, using practice wood, apply anywhere from 3 to 30? coats, treating it as if you wet the wood with water, allowing for adequate dry time in between coats, on wood you will see 3 coats impart a light grey cast, 10 coats gets you the "grey redwood deck" level and once you get into high teens and 20's you will get jet black eventually. it will raise the grain slightly but can be smoothed down /sealed in a variety of ways
  12. I really feel it shoots down the "did it with the back on" thing too. And that's it for me too, I have done similar applications of nailing "persnickety" things together but never really nailed on a neck, so I can only imagine from my previous applications of how it would be done...and no matter how many times I run it through my head I just don't see it working very well. I have a feeling bread and butter would have been gluing necks back on , maybe that's it, built in failure for financial reasons
  13. I think this is a very good and seriously advanced question that really gets into "what species" what metal compound, what shape or design and what is the application. I think many if not most times a blunt nail is less prone to split, yet there are certain times, I can't name them, as they have been "abstract" when super sharp yet thin nails have been better for the task. Again I have lots of questions, that don't really matter in the scheme of things, I guess that I just find it "strange" that this method was the "go to" way to attach the neck, and that mortice, tenon, dovetails and all the locking joints must have been known from other "trades" "crafts" "construction projects" as well as what glue can and can not do. And in all this nailing on necks stuff was it that the nails were really just acting as clamps for the glue, and percentage wise "who" was pulling the most weight so to speak in the operation, was the glue doing more "holding" or was the nail? I just guess it's strange to me that these guys were so skilled, particularly with the tools they had and used, and then when it came to this one thing, it just seems so "wrong" to me, as if they design a really cool sports car and then decided to put peel and stick head lamps on with wires running from the battery as if it were an after thought. again I don't think most of us are nailing on necks so its more of an exercise in imagination and wtf were they thinking kind of thing to me more than anything else....or things that make you go hmm' does anyone have a pic of a "period" nail/tack that came from a Strad or like instrument ?
  14. sorry for the delay....well that was one of them, I just don't see using these "awl" style reams with the back already on. And then because of the taper I wonder the depth to which they were pre drilling the holes...the "tips" almost seem as if they are made to just go in the depth of the tip, as in drilling the hole for the pins on the plate, yet could easily be driven deeper. I guess the real question I have is how deep were the predrilling into the neck itself after going through the block? It just seems like a task that could easily be "blown" and then cause some serious "oh shi*'s" So was it that they had killer nails that were super sharp and would not split the neck wood when driven in the last bit, or were they super accurate with their depths, and thus diameters of their holes. Obviously unless it's "just right" it could end up making the nail not snug the joint down
  15. So I think it's important to discuss this a little bit more in detail as to why it's a good idea to forge ahead... something tells me that you are concerned about this because your thinking that this small gap could be one of those "nightmare stories" you hear about that "buzz" that could not be found....thinking that perhaps under certain circumstances of vibration that somehow the wood will start rubbing together like cricket wings, but, based on the location, an area prone to not vibrating much, I don't think you need to worry about it. As mentioned by Christopher, I would suggest padding/protecting the rib side, using a strong appropriate sized clamp, to attach the clamp first, and feed a little water in their repeatedly over the course of a half hour or so and then "open/ close" the clamp repeatedly for a moment to see if you can not close it. after dry if there is a wee gap, this is a case where "glue" is filler...as we here "glue is not filler" but in this case it would be fine to load it up with a toothpick... again this is a "nodal region" and just does not see lots of "hyper flapping" that would lead to buzzes We want to be anal retentive where it counts, I think it is easy to get too much so over the entire project and it just kills intuitions If ever "use the force" was applicable in real life, it's in building instruments
  16. Thanks for the photos Davide but really they create more questions than answers https://www.youtube.com/watch?v=B0w4EVpNliA speaking of nails in violins, but really they're staples....such a pleasant tone
  17. My memory of seeing these "nails" in xray photos is that they are very similar to today's modern carpet tack, that has a needle sharp point that flairs out rather quickly and tapers up to probably 2 to 3mm and vary in length, and also seemingly sqaurish not really round. I've seen some pics of pretty honking nails in lutes and ouds also, which I can't imagine not splitting the wood unless predrilled...And I'm not suggesting the nail is 1mm just the pilot hole, or well smaller than the nail. Do we have any "drills/bits" from Cremona?
  18. Well, I wanna know who was the town drill bit maker, all this talk of 1 mm drill bits makes me wonder who was the source for such things, it would seem to me that it would be harder to make good 1mm bits than say 5mm, even with today's hybrid metal compounds they tend to snap all the time, and well based on the shape of the "nail" I would call it much more of a tack I wonder if they even pre-drilled holes?
  19. A technique best left for solid furniture, in your case I would find the brightest room I could and find the "holy" spot where no sun will shine directly on the instrument and simply leave it until you get back, just being exposed to indirect light in a raw state will help move it along, but I would not leave it unattended under lights , if I did I would have the uv light much further away than normal and probably put them on a timer to give the lights a break , just not a big fan of "trusting" lights to not catch fire, that being said I'm sure there are light bulbs that have been on for years
  20. Happy belated birthday as well Michael, hoping your feeling better, we're all pulling for you
  21. https://theviolinchannel.com/vc-artist-ray-chen-acquires-1714-dolphin-stradivarius-violin/ a vid included that shows it
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