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Michael.N.

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Everything posted by Michael.N.

  1. It's just taken me 20 minutes to trim/shape the linings, I'm losing time already! Not that it matters, I'm on No.1 and I think the whole rib structure/linings took me around 12 hours work. A lot of time was wasted on chopping (or rather nibbling) at the blocks. With a touch more confidence and better technique I think I can get this task done in under 8 hours. Probably slow for an experienced worker. If I did batches of 3 I might be able to knock another hour or so off each one. At least in theory.
  2. Has anyone tried Lutz from Canada, the hybrid Spruce? I have a number of sets but in Guitar style boards. The density of my samples (no doubt it varies) are roughly in the European Spruce bracket at 370Kg/m3 . Not floppy either. In fact my European Spruce for my violin #1 is noticeably heavier, although that particular piece isn't a good example. The rough cut boards appear quite Pinkish, as though you can see the Sitka in them. Once sanded or scraped though it takes on much more of a Euro spruce look, I guess it would be extremely difficult to tell them apart under a Varnish.
  3. I've heard that a few times Lemaster!. Musicians blaming the instrument because 'some days it sounds awful and it's just temperamental'. It's probably due to a change in humidity, is my stock answer. NO!! My room is humidity controlled. It can't be that! It's this instrument, it's just temperamental. It must be yourself then. We all have our off days, even the finest of us. Think about it. One day it sounds great, the next awful. The day after that it's back to sounding great again and so the cycle continues. The Humidity is the same, the temperature is the same. It must be yourself,there is no other logical answer. We don't build instruments with integral Human emotions. They are never convinced. A few months later they are looking for another instrument that isn't so temperamental. The strange thing is that some of them actually find one.
  4. I made several attempts at Varnish 3 or 4 years ago. I finally ended up with some decent stuff but it wasn't without it's scary moments. The Oil ignited. Putting the lid back on extinguished the flame. . until I removed the lid again. The Oil was obviously far too hot. The fumes from the resin were heavy, not good for the old bellows - despite me trying to keep a safe distance. I've well and truly decided on the safer alternatives. Whatever you do, don't skim over the safety aspects.
  5. Oops! Never was my strong point CT. Too much sawdust.
  6. What of a Strad fiddle but a lesser makers label glued over the original. Highly unlikely I know but. . . questions, questions. This is fast becoming the moral maize.
  7. Not my experience of Fish Glue at all. I once glued a Guitar fretboard using the stuff and much later realised it had moved under clamping pressure. I nearly took half the wood of the Neck trying to remove it. As for permanence, I guess I'm in severe trouble having glued a number of Guitar head joints! If anyone tunes the 'e' string up a semitone I'll be going into hiding.
  8. A Guitar truss rod pre-loads the Neck, it actually sends it into a slight back bow. The string tension reverses this. If you do use a screw, clean it first and coat the thing in Hide glue. I doubt it will work itself loose after that.
  9. More Hide glue. It just might end up a little stronger now that you have sized the wood. Liquid Fish glue seems very strong from the limited experience that I've had of it.
  10. Strad made Baroque Guitars (obviously) which were probably finished with the same varnish as used on his fiddles. Guitars have (like Violins) been daubed with virtually every wood finish known to man. Shellac (Spirit/French Polish) became very popular during the 19 th century. Martin used it pre War, before switching to nitro cellulose. High end Classical Guitars tend to be finished with french polish, although some modern spray finish to the Back/Sides is not uncommon. Mostly they are concerned with the rapid wear that can happen with the players arm being in direct contact with the lower bout. Shellac can wear rapidly in this particular area. A few individual Luthiers of Steel String Guitars use an Oil Varnish, although this is of the modern synthetic type. Much harder and more durable than the traditional oil type varnishes. I think you will hear all sorts of claims regarding the type of finish and tonality. IMO your first port of call is the practicalities of it's application and it's durability. The tonal claims usually follow after.
  11. Some historical Lathes with dates: http://homepages.ihug.com.au/~dispater/turning.htm One can become quite proficient with simple mechanical tools:
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