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  1. Thanks Bruce. That is all I want to know. Regards Tango
  2. Hi Does cellos ribs taper follow the same criteria of violins? I am thinking 115 mm at the neck and 120 at bottom. It is an Strad model like Davidov. Not a copy. Thanks for advices Tango
  3. Hi Jacobs . Your emphasis made me abandon that idea. I was afraid about some gap could remain in the thickness of the gluing surface , impossible to see from outside (4.2mm wide). Thanks Nick and David for your replies too. David. I took from you this way of glueing from you but adding clamps. This is only an essay of clamping because I want to glue fast without errors
  4. Hi Does somebody apply hot water before glue in a centre join to swell some the wood preventing some gap? Not at the sides but in the same face to glue. My case is a cello back Thanks for advance in any help Tango
  5. Hi Davide Congratulations for your video. I wish will help to open several doors in the market. Regards Tango
  6. Hi This is my last viola made during quarantine (40,3 cm). I hope you enjoy that Regards Tango
  7. Quarantine viola. I hope to take better photos in the future. Meanwhile:
  8. Hi May differences in edge thickness change something the sound of an instrument, or the thickness is a aesthetic stuff? Tango
  9. 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.
  10. 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
  11. Hi I have a good results with this set up.
  12. 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.
  13. Hi Michael I made a lake from the dust of sanding of quebracho. I went to a carpentry and bought that
  14. 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?


  15. 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