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Everything posted by tango

  1. Hello My time of varnish is coming. I tested some oil touch of brush over a glass and it dried. Next time I will test over wood with a Turapori (albumina Saconni´s recipe). This is clear varnish. ¿How can I color it? I was reading some books and notes but I would like read more. I had read how to coloring an escence varnish but I am afraid to mix some thing not soluble in oil. Thank for any help Regards Tango
  2. Ctviolin and David thanks for your thoughts and tips. I where thinking (I am a amateur) about the Grain that when we cut the wood in slab way the grain loose the paralelism. But there are a lot of violins made in this way and works well. Regards Tango
  3. Thanks Maetro Manfio. At this time, the customs Argentina is putting many obstacles to enter imported goods. For this reason I have fear of buying abroad and not get into the wood.Anyway I will save the www address Another question ¿Which is the latin name of wilow used in Luthería? I know that is very good for violas ¿isn´t it? Regards Tango
  4. Hello to all ¿How important is the grain parallelism in the back plate? Thanks, Tango
  5. tango


    Hello Some months passed from the beginning of my first post I want to thank all the recommendations on gouges. Especially Michael Darnton and Jacob Saunders for some interesting tips that guided me. The three used and old gouges have been very good to maintain its edge for a long time doing the job easier. Just need to improve the handles that are slightly damaged. The two unused Henry Taylor gouges bought in Canada (Lee Valley) are good too but they seem more tender. I guess, before that terrible time of Margaret Thatcher, when some mills had to close, production of English gouges were better quality than today, maybe more expensive but better, is not it? Regards Tango
  6. tango


    Well... the discussion was very interesting for me (I am learnig). I think that the most important subject is the sound. When we are hearing the violin and it sounds well we don´t think about the routter, sanpaper o bandsaw. BUT YOU ARE FREE WITH YOUR IDEAS Thanks. TANGO
  7. tango


    Thanks to all. I'm finishing with the scraper and I can not remove the lint wood. I suppose that, once placed the “turapori”, I can use the sandpaper because the pores should be covered. (if the “tiny sawdust particles”, as said Lyndon, is the problem) ¿Am I in the right way? Tango
  8. tango


    Hello. Sandpaper: ¿Which is the problem with that? ¿Is completely forbidden or when it can be used? Thanks Tango
  9. Dear Mariakis Congratulations for play my music. That sounds very well. ¿Do you know the meanning "Por una cabeza"? Best regards Tango
  10. Hello Becouse the recipes books are incompletes or confuse. I see that many of us (myself included)have doubts on the important details but, in general, we know how to make a varnish. In adition of this, our home experiences are difficult. I think make a good varnish, not the "greatest varnish" it should be less difficult than it is said and the "secret" is in these "small" details about procedure. Thanks to all and continue changing ideas. Tango
  11. Hello What do you think of this recipe? I have read and I still have some doubts in points 1 and 5. For now buy varnish done by professionals but I need to try something at home. OIL VARNISH from the Marciana Manuscript (1550/1570): Varnish that spreads like oil, dries quickly, is very lustrous and beautiful, and put upon things is like a mirror of glass, and is admirable on lutes and similar things. Take for one measure: 1. One pound of linseed oil, and make it boil in a clean glazed pot. ¿How much time? 2. Add half a pound of pulverized clear and beautiful Greek pitch stirring it in, incorporating it well on a gentle fire. 3. Put in a half pound of powdered mastic. Because it swells up, 4. Raise the pot from the fire, stirring little by little and incorporate it well. 5. Then return the pot to the fire and stir so that it dissolves and incorporates well. ¿How long, until it dissolves only or longer? 6. Put in a nut-sized piece of crushed burnt rock alum, and add it so that it dissolves and incorporates well. 7. Afterwards remove from the fire and strain with an old piece of linen and preserve. For wood, and for iron, and for paper and leather, and for all painting and to make work beautiful, and for resisting water. When it seems necessary, dilute with linseed oil as is done. Thanks Tango
  12. Hi Stilldoinit I think so but a disscusion with a friend made me doubt. Thanks Tango
  13. ¿Is there some rule that says us how much time is the ideal life of a violin bridge to be replaced? Tango
  14. Thanks Manfio. I will follow your advices. Tango
  15. Hello Because I decided to take my time with the varnish, testing and learning with some recipes, I bought my varnish in store for my first instrument. So… at this time two new questions: 1)In Carletti´s book he writes that colofonia resin must be processed before heat with the oil and, anyway, the results are not very nice ¿What do you think about? 2)¿Somebody know the “Hidersine” varnish? The oil and the spirit. Regards Tango
  16. tango

    resin-acid number

    Thanks Joe I am very grateful for your words. Read to a profesional writing has a big importance to me, becouse where I live the knowledge in this matter is very little and who could spread information don´t do that. At this time, whith your answers, the next step is the self experimentation. TEST-LOOK-THINK. JA JA Regards Tango
  17. tango

    resin-acid number

    Hello ¿Somebody knows how "Hidersine" spirit and oil vasnish works? Are good? I bought two little bottles for test. One oil and one spirit. regards. Tango
  18. tango

    resin-acid number

    Hi Joe I live in Argentina. Regards Tango
  19. tango

    resin-acid number

    Thanks to all for your replay This is a dificult matter to understand for me. One dificult is "chemistri" and the other: my first language (Spanish). But I take my time and read all. I read a lot of recipes of oil varniches but always there is nota complete of information. Sometime about one ingredient and sometimes about the procedure of making. So, a lot of: Why?... What?...etc Please continue writing Tanks you very much. Tango
  20. Hello, I´m here newly. ¿Which is the importance of de acid-number of the resin for making varnish? Thancks Tango PD: I will become cracy with the varnish.
  21. Congratulation Mr. Manfio. I like your choice of colours, wood and wood work. Regards Tango
  22. Hello Master Manfio You just wrote what I was expecting: "string lenght of 37,5, neck 15 cms. and will place the bridge in the position that will give me the 375 mm string lenght" Thanks you very much for spread your experience. Regards Tango
  23. Thanks Doug and Jim I read whith attention your texts and I will change the srting lenght from 37,5 to 37,1. Stop= 223 mm Neck= 148,6 mm The original model is stop= 225 mm I think that I can make this reform whith some little changes. Thanks Tango
  24. tango

    Oil varnish

    Thank to all for share your knowledge. I´ll be asking several times, ja ja. Tango