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Posts posted by MikeC

  1. 1 hour ago, HoGo said:

    I tend to think that their choice of rib thickness was likely dictated by their bending irons and likely bending without a bending strap (or is there any evidence suggesting use of straps or leather belts?).


    An old leather belt works well as a bending strap

    21 minutes ago, Andreas Preuss said:

    My interpretation of typical Steadivarii ribs is that they were bent cold. This was the apparent reason to make tighter curved areas thinner than the rest. It’s pretty easy to do. You soak the ribs 24 hours in water and then bind them over a mould to let them dry. 

    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.  

  2. I just found out I was wrong about something.  Well there's a first time for everything.  :D  

    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!  

  3. 15 hours ago, Andrew tkinson said:

    A very impressive looking machine Mike, I reckon it must be a lot faster than my wheelbarrow but it won't be as good for carrying foraged wood home! Also I reckon my bowler hat would get blown off at such high speeds?

    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.   :D 

  4. 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.   


  5. 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.  

  6. 16 hours ago, James M. Jones said:

    Look right above the most Current thread , pinned with a green pin says “reference thread links , “ click on that and six or seven topics down you will see one “long arch” loads of good stuff , Bruce Carlsons  pictures are worth the time just by themselves. 

    Thanks!  I found it.  

  7. 21 hours ago, Rue said:

    The things one finds on the internet...



    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" 


  8. 15 hours ago, JacksonMaberry said:

    I'd say both you and Peter are oversimplifying in opposite directions 

    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.  

  9. 1 hour ago, Peter K-G said:

    Linseed oil is the most beautiful there is on wood! Nothing will come even close. The question is, how long do you have to wait?

    Nope, LO is dull and non reflective.  

  10. 4 hours ago, charliemaine said:




    Aloe Ferrox coloring...

    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!


  11. 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.  

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