Don Noon

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About Don Noon

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    It ain't rocket science... it's more complicated
  • Birthday 03/20/1952

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  • Location
    Carlsbad, CA
  • Interests
    Violin construction
    Old-time fiddling

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  1. I have already earned my prominent spot in the great torrification chamber below for my abuse of wood, VSO's, and consorting with the devil's machinery. One more demerit won't make any difference.
  2. It continues to amaze me that we independently arrive at many of the same ideas. I only wish I could independently arrivea at the same level of wooworking skill
  3. Is fish glue also heresy? Maybe not as bad. But it seems to me that this modern glue might solve all of my concerns: it doesn't have water so it won't expand the wood, it's thick so it won't wick into the grain, and it has a relatively long working time. I don't know if it brings any downsides with it (other than purists finding out you use it), so I'd have to test it first. It's not like purfing is a joint you have to take apart occasionally; even with hide glue, it's pretty irreversible anyway.
  4. 192 high clarity glue seems to get totally liquid on the first heating, while all the others are slightly lumpy and need a couple of cycles to smooth out. The lumps are soft, and can be squished fairly easily... but it just seems like using a uniform liquid might be a better idea. After a number of heatings, the gel time gets longer until eventually it never gels. That might be a good thing for purfling, assuming the glue hasn't gotten moldy by then.
  5. I too use terpene in my ground, but not as an oil varnish. I think the color looks very natural and slightly dicrhomatic... yellow/tan to slightly reddish depending on thickness.
  6. From the Fulton recipe, I think this indicates that the terpene/oil varnish is very sensitive to the type of solvent: The resin-oil mixture requiring a solvent is both polar and nonpolar. It requires a polar-nonpolar solvent; however, the 5-10 day old straw colored turpentine made with the bubbler, the product filtered and not allowed to become thick, is a polar-nonpolar solvent and can be used. Additionally, the following solvents can be used: oil of rosemary, spike lavender oil, pine oil, and pine needle oil. All of these substances were available to the ancients and are polar-nonpolar solvents. For myself I use the thin oxidized (5-10 day) straw colored turpentine.
  7. One issue that concerns me is that the wood of the plate expands a lot crossgrain when wet, and then shrinks when dry. The purfling grain is perpendicular to the plate around the endblock areas, and can lead to splitting of the edges of the plate when everything dries out. I have been sizing the channel and letting it dry first, before gluing in the purfling... but have had similar soak-thru issues that Nick shows. I think I should have used much thicker glue size... but I also have been considering trying the blasphemous idea of using non-foaming polyurethane glue to (hopefully) avoid all of those problems. And create different ones.
  8. Making the oxidized turpentine is the easy part. The tricky ones come next. I should say that I never actually got to the end of making a successful turpene varnish. I only tried once, found out what not to do, and didn't try again. I have made the terpene resin a few times. Tricky part #1: cooking the resin. Somewhere between 140C and 150C it goes exothermic, and needs to be watched constantly and carefully at this point to keep the temperature down. I made the mistake (once) of getting away from the nasty fumes for a couple of minutes, and when I came back, the pot was empty and everything was on the ground (outside, of course). Keep a pan of water nearby to cool things down if necessary. It seemed to me that after the exothermic reaction, you have converted the turpentine into the brittle terpene resin. I continued cooking to 232C, with clouds of toxic smoke, and I'm not sure if it changed much.other than converting terpene into clouds of death. I can't imagine reaching 350C and having anything left. Maybe I'm wrong about that, but I just couldn't stand any more of those horrible fumes any longer, and neither could my wife (and probably the neighbors too). It's really bad. The fumes are easily ignited, too... so don't use a flame for heat. Tricky part #2: Terpene resin and linseed oil don't like each other. They mingle when hot, but go their separate ways when cooled. You need the RIGHT solvent to keep them together... either lavender oil or more of the oxidized turpentine as Fulton recommended (added below 140C). Regular gum turpentine WON'T do it, as I found out on my first and only attempt. Terpene is an interesting and nice-looking resin, but I don't think there's enough color to use as a pigment-free varnish, and with all the hassle, I prefer the ease and reduced toxic clouds of the rosin-based varnish.
  9. Looks very Messie. I would like to see a short video of it tilting back and forth, to see how uniform the flames look as they move to their extremes. Whenever I try to put color on the wood, there's always some of the color that hangs around in the flames and doesn't move, and I'm trying to avoid that effect. I haven't seen the Messie in person; maybe it has the colored flames... but the Cremonese I have see don't have that.
  10. Don Noon


    I haven't tested how strong the casein is, so I try to keep the casein coating as light as possible to allow the glue to do its thing, and have just enough casein to keep the fibers from getting pulled up when removing the tape. I don't intentionally coat the other gluing areas of the plate, but don't go into a panic if a little bit slops over.
  11. This is beyond anything I have done, or even would want to do. It look like a lot of work with no clear connection to improving the quality of my instruments, and that is my main interest. As Davide said, you'd need a very lightweight accelerometer for your measurements so as not to change the vibrating system... or use strain gages for the same reason. I haven't had any direct experience instrumenting that kind of thing, so I have no further practical suggestions other than to use the microphone and FFT for anything you can, and avoid spending too much time and effort collecting data which predominantly ends up in the category of "maybe some day I'll figure out what this might mean". I'm still waiting for that day for almost all of my data.
  12. Why do you think you need an oscilloscope... what exactly do you want to measure? I had one years ago, and got rid of it. Anything I wanted to do with a 'scope I can do with a microphone and free FFT program.
  13. Don Noon


    That is why I put down some low-tack paper tape on the plate, and put the chalk on that. The thickness of the tape doesn't make the fitting appreciably less accurate. A casein coating on the inside of the plate also keeps any errant chalk from getting into the wood.
  14. Hard to commit to a purchase based on this low-res image. Got anything higher resolution to show the grain detail?
  15. Don Noon


    Eternity Arts makes a variety of colors of soft chalk, including fluorescent. It's quite pricey, but how much do you use? I got a couple of white sticks 10+ years ago, which shows up well on my dark torrefied wood.