violinoalto

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  1. Musím upravit svůj příspěvek na rok 2014 Od té doby jsem provedl mnoho variant varnishis, které jsem vařil s nízkou teplotou a dlouhou dobou cca 120 C - světlé laky Vyšší teploty až 300 C-tmavší laky Nejraději mám vaření mezi 170 ° C - 250 ° C Také jsem vyzkoušela spoustu pryskyřic a jejich směsí borovice, modřín, jedle, jantarová kalafuna, sandarac, samotný nebo smíšený - obvykle dvě části a to vždy 1 tmel lněný olej v poměru 1,2-2,5 hmotnostních dílů na všechny pryskyřice - takže tvrdost - měkkost barvy Dnes si myslí, že čím tmavší lak, tím lépe. Aplikuje se v tenké vrstvě. Když je jasná, musí dát více pigmentu. A pigment pokrývá dřevo. Ještě jsem nevařil červený lak, je to vždy zlatohnědá. Chtěl bych zkusit namočit pryskyřici kyselinou dusičnou na červenou. To je to, co jsem četl na Maestronetu v nějaké písni, ale bojím se acidity a degradace.
  2. I have my own warnish mainly thanks to the maestronet pegbox
  3. 1889 - 1942 czech violinmaker. Usually the model of the stradivari, oil warnish. Source Karel Jalovec He values him as excellent
  4. Hello from cz School violin. Factory production from the town of Luby near Cheb. Formerly Schonbach
  5. Hello I have tried borax-casein and claim to be the most water resistant than other protein grunts. I also happened. I used to color Rubia tinctorum in alcohol. An unexpected reaction came and the violin got the orange - red color. First I was afraid, but in the end I like it. Have you ever been such a thing? Reaction of boraxcasein to some wood staining? Maybe it could be used.
  6. violinoalto

    Violin ID

    Jiř Štoček worked in Nechanice (Jalovec) Violin I think the Czech manufactory and you were doing in the Schonbach area Similar headers for these, I've seen them a lot
  7. And I noticed that pine resin cooked with CaO is less moisture-proof. I deal so, As David Sora said, I'm doing Oil: all resins between 1.5 and 1.9: 1 weight (also because I think oil: resinous than 1.5: 1 is pretty fragile and hard. .... and also make a mix of more types of resins + ..... example Sandarac + coniferous resin (2-5% CaO) + Mastic Then I tried to cook with Fe2O3 - but it is stable only up to about 160 ° C Most of the solution is. Although the varnish in the glass is dark and the color then the thin layer on the violin is a little color and I have to use pigments
  8. Hello Varnish you have to cook as long as you make the pill length. When it is not, no oil is involved in the resin When cooked at a low temperature around 100 - 120 C it may take about 100 hours Generally low temperature - longer cooking time - lighter colors Higher temperature (more than 200 C) - shorter cooking time - darker color There is a lot of writing on the pegbox about how to do it -
  9. Ano, přesně tak bych přemýšlet o tom, GS (zlatého řezu a jak jej používat). Nemyslím Tloušťka desky GS Snažil jsem se, aby se most a sounpost ladění podle instrukcí x * y = kk = 1, ale zdálo se mi, že pak most chybí dřevo. ... a včera jsem četl. Že je třeba nastavit sounpost a já jsem to neudělal tak nějak
  10. yes I agree .... as well as the ratios of top and back weights ..... and what are the ratios of bulk density of maple and spruce on some stradivarius
  11. That language, It will be a problem, I can not speak English correctly. And google translate makes complications. I read the Czech version of the text. I will try to find out what the author meant. I will try to simply write I know He thinks this way 1. The Fibonacci constant is 0.618 (0.62) Or 1 / 0.62 = 1.62 2, Then, When estimated the top thickness (center) 2.8 So the thickness (center) will be back 2.8 / 0.62 or 2.8 * 1.62 .................................................. ........................................ I say. It will not be that easy. I think more quantities have to agree. For example, the bulk density of wood
  12. You must not take this as a textbook. It's the opinion of one violinmaker. You need to compare his remarks with others. It's certainly not true that it's all nonsense. The way how to modify bridge and sounpost comes from some mathematical value. In this particular paragraph, it is intended to apply the golden section. He claims that the Fibonacci constant can be applied to the thickness ratios of the top and back plates. When you think about it. So he says in other words. If you select a suitable material for the back and top plate and will play well together, the thickness ratios will be close to the fibonacci number I'm not saying that everything is true. I think it is possible to put a lot of geometry and mathematics into the violin. So that the violin shapes are not accidental but intentional. Designed and calculated to be beautiful and well-played. .... and in terms of golden cut ...? ..... position f holes ....? ---- ratio of average density of maple and spruce? ---- Weight ratio top and backboard? --- Weight ratio of top and back plate without working outdoors (finished vault)? It will always be closer to Fibnacci's constant. Perhaps more would be found. Is it a lot of coincidence at one time? We touch something and we do not know what
  13. Mám takovou zajímavou věc někdo počítal jakou váhu poměr by měl být mezi mostem a zvukové Málokdo tomu věřil. Je to něco jako houslařů „libri prohibiti“ Podstatou je hmotnost mostu vynásobený hmotnosti sounpost roven 1 Je to návod k tomu, jak zatížit most a Soundpost být v optimu. Ve vašem případě bych to zkusit Možná, že hmotnost je důležitější než rozměry To byl napsán český violinmaker Vaclav Lanc Po celou diskusi viz odkaz níže Tam jsou také kontakty na violinmakers, kteří ho používají http://www.houslelanc.cz/book/export/html/3