Jump to content
Maestronet Forums

MikeC

Members
  • Posts

    3495
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by MikeC

  1. The recipe still survives since the 1700s? I'm always interested in varnish ideas.
  2. I started taking the survey but then realized much of it doesn't apply to me as a new novice maker.
  3. An old leather belt works well as a bending strap I seem to remember a photo of a Strad rib with a slight burn mark in the tight part of the C bout curve. I'll have to dig through a lot of old correspondence to find it though.
  4. I just found out I was wrong about something. Well there's a first time for everything. so the 27mm height is where the centerline of the fingerboard meets the bridge position. Not at the end of the fingerboard as I previously thought. Well fortunately it's not too late to make adjustments!
  5. I guess I'll have to wear a big backpack to carry wood home. With 125 horsepower you better strap the bowler down with a bungee cord.
  6. Warning: A non violin related post.... This is going to be my new toy. Half the weight and twice the horsepower of my old Honda VTX
  7. Well I'm trying to do a neck set and it's a bit too loose. I may need to glue a thin shim, maybe a plane shaving, on one side or both of the mortice and then re-set the neck. I got a good fit on the bottom where it contacts the button of the back plate by using homemade carbon paper. I've got right at 6mm overstand is that the right word for it? And right at 26mm at the end of the finger board. I know it should be 27mm. It's not too late to increase the angle a little bit to get an extra 1mm there. But the string pressure on the bridge is going to push the top plate down a little bit so maybe the current 26mm is ok.
  8. Badgers? We dont need no estinking badgers
  9. Someone put the post in crooked. And all those cleats! pretty much invalidates Fry's hypothesis. https://www.youtube.com/watch?v=c8-rOvWeV8k
  10. For a moment there I was afraid I had stumbled into the wrong sort of forum...
  11. Those are beautiful guitars. I don't have a clue but think it would be worth researching the art and technique of marquetry. There must be some information out there on how it's done on curved surfaces.
  12. Thanks! I found it.
  13. I don't see a pinned thread on arches where is it? I'm blind in one eye and can't see out of the other one.
  14. Too hard to narrow down to just three tools so maybe a few general categories. Hand saws, gouges, planes, drill, vise / plate hoder. Most important of all is the optivisor since I can't see worth a darn without it!
  15. MikeC

    Shop Attire

    That reminds me of something my dad used to say. "Let me see said the blind man as he picked up his hammer and saw"
  16. MikeC

    Shop Attire

    BlueJeans and a Tshirt or a hoodie depending on the weather
  17. Jezz you use Brave too? I don't even know how many BATs I've earned so far. Tor is good also.
  18. I may have made mine too big unless you have a really really big fiddle.
  19. That may be but every time I've put LO on wood it seems to have a dull non reflective effect that I don't like. There are some things I do like about it though. For example viewed straight on it brings out detail in the wood grain and allows light to reflect somewhat off the internal structure of the wood but viewed at an angle it has a dark non reflective appearance so I would think that with a layer of colored varnish on top this could enhance a dichromatic effect from the varnish since it would have an affect on how light reflects off of, or transmits through, the color layer. I don't have enough experience with it though to know for sure what it would look like.
  20. Nope, LO is dull and non reflective.
  21. I like the red-ish color in the deep part of the curl and more yellowish in the light stripes. Most grounds are too monochromatic for my tastes. There's an old thread here somewhere called Red Stripes or Red Flames. I would like to replicate some of the grounds shown there. Something like this... but I ain't there yet!
  22. John thank you for expanding on your earlier comment. One thing I would add is that recently a link was posted here on MN, I forget which thread, which talked about powdered pumice and bone ash being added to oil varnish as a drying agent. I thought perhaps that could explain a particulate presence in a varnish layer assuming B&W misidentified the varnish as ground. As I recall in one of their SEM photos oil was identified in the upper cells (which would agree with Echard's finding) then the 'ground' on top of the wood and then a thin layer of 'varnish' on top of the 'ground. I suspect the layers should have been labeled wood, varnish, French polish.
  23. Revising my opinion of linoxin after a day in full sun it is no longer gummy but feels dry to the touch. It has a texture just like regulary linseed oil. While LO brings out the wood grain nicely it always seems to have a sort of dull non reflective quality that I don't like. The first substance that will touch the wood will be a particular stain/protein however I'm still undecided what sort of clear coat to use as a ground on this thing. Options so far are regular LO, the Linoxin, lean Varnish (colored or uncolored), Amber Shellac, Pine or other balsam resin... There are so many possibilities.
  24. Can you elaborate on how you recreated the surrounding coating system?
×
×
  • Create New...