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  1. Quarantine viola. I hope to take better photos in the future. Meanwhile:
  2. Hi May differences in edge thickness change something the sound of an instrument, or the thickness is a aesthetic stuff? Tango
  3. Warming up the varnish make easy to apply with fingers like if we were thinning it with a solvent , isn´it? I saw that it dry quikiest but I don´t know if I may ruin the varnish.
  4. Hi Davide What's wrong in thinning varnish with turpentine to applying a thin coat? The only problem I found was one brand of turpentine bought in a chemical store but now I use Winsor & Newton. I made tests over a glass and W & N left minus tacky the surface when dry. I use Hidersine oil varnish. The only one I can achieve here. Sometime I use my varnish but I am a little affraid
  5. Hi I have a good results with this set up.
  6. hi david I don´t remember well but it was some like this I made a Lake pigment mixing quebracho sanding dust in a jar with "carbonato de calcio" wait for the time needed then added alum . Waited for decant and siphon clear water. I repeted that several times. Filtered that and let dry and so obtained the lake pigment. I made two. One of pernambuco and one of quebracho.
  7. Hi Michael I made a lake from the dust of sanding of quebracho. I went to a carpentry and bought that
  8. Ķ

    Hi David
    I am trying my first violoncello. 
    I like this set up for glueing plates because have few elements and well thought.
    Do you use that nowadays?


  9. Hi I am understanding a little joining replies. As I insisted grinding the color was getting some dark. I guess it was due to the "quebracho lake" (tanins) not the cochineal because I tried a couple of test and cochineal didn´t change during the grind with muller. I will pay attention to the medium used in the grinding process (Turpentine, oil or varnish) Thanks all for your help Tango
  10. Hi Two weeks ago was the first time I grind natural pigments. Previously I mixed some oil tubes colours with some synthetic powder pigments using a muller over a glass. This last time I grinded cochineal powder from Kremer and a lake, made by me, from a tree called "Quebracho" (Schinopsis balansae), very rich in tanins. I never noticed any change in color grinding sintetic pigments like Quinquasia Gold or others but with this two natural ones I saw a change in color as I insisted grinding. May be that natural powder brake into pieces and free some hue? I grind with some drops of oil, a little of turpentine and finally a little of oil varnish. Then mix all with varnish. Thanks in advance for opinions Tango
  11. Hi Violadeamore. Jezzupe. I guess the power plane vibrate so much. It would be ok for the first aproach . Isn´t it? Michael. I thought I was the only one that chalked the back centre joint. Always work a lot between curled maple becauuse a very little light is there (without clamps) David. I found an old (2008) photo of your gluing system for cello´s back using glued wedges. I like that. Thanks all for advices an information Tango
  12. Hi all After two years of postponement I began a cello. At the present time I only made 10 violins and 3 violas. Some top plates were rubbed and some clampled as all my back plates being this backs the most difficult task. 1)Is there any trick for planning centre joint in the case of a cello? 2)Somebody used a shooting board for cellos back? 3)Is any method preferred to other? For the moment I am thinking to work as always but I am a little affraid Regards Tango
  13. Ok. Thanks all for replies Tango
  14. Hi Temp in the top of the cabinet is 18/22 C°. The cabinet is 120cm x 80 cm. We are in Winter in Buenos Aires. I guess the stuff to be aware is the temp, isn´t it?