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Everything posted by tango

  1. Hi R. Pope Do you seal the wood before the washed linseed oil? Regards Tango
  2. Hi With this set up I was able to glue well by pressing right in the middle of the halves thickness . Thanks David
  3. Thanks Bruce. That is all I want to know. Regards Tango
  4. 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
  5. 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
  6. 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
  7. Hi Davide Congratulations for your video. I wish will help to open several doors in the market. Regards Tango
  8. Hi This is my last viola made during quarantine (40,3 cm). I hope you enjoy that Regards Tango
  9. Quarantine viola. I hope to take better photos in the future. Meanwhile:
  10. Hi May differences in edge thickness change something the sound of an instrument, or the thickness is a aesthetic stuff? Tango
  11. 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.
  12. 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
  13. Hi I have a good results with this set up.
  14. 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.
  15. Hi Michael I made a lake from the dust of sanding of quebracho. I went to a carpentry and bought that
  16. 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?


  17. 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
  18. 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
  19. 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
  20. 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
  21. Ok. Thanks all for replies Tango
  22. 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?
  23. Hi How close to the UV light tube must stand the violin in a UV box ? (Black light , 36w and 120cm long) Tango
  24. tango

    Yellow for ground

    Hi. Sorry the long time from my first post. Finally I did not add shellac with turmeric. I used an uv box , made on last november, for darkening some. I am happy with results. Thanks all for advises. Regards Tango