tango

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Everything posted by tango

  1. tango

    crack filling

    Thanks Jeffrey. I will try here in Buenos Aires first. Our post service and customs are a disaster Regards
  2. tango

    crack filling

    Hi Jeffrey Is Al(OH)3 the "aluminun hydroxide" formula I want to try that and need to translate to spanish correctly to order to the chemist store, Thanks Tango EDIT: Hidróxido de aluminio is the name translated by Wikypedia
  3. tango

    Harsh sound?

    Well... I can sleep more comfortable after this words hahaha Regards Tango
  4. Hi all I warm the wood because too many years ago, a fellow built a plywood and plastic boat using poliester resins instead epoxi. Poliester is cheaper than epoxi.Usually poliester resin tend to separate from wood but his thirty years old boat was in very good conditions. He explained me that when you heat the wood its fibers open and resin penetrate more. Remembering that and seeing that some luthiers warm the wood I adopted that. Of course this has another advantage that is about delaying the time of glue drying. There is another point that I guess. If the heat open the fibers and the glue is liquid for more time, The wood could swell more and the clamps could shape the faces of the halves more eficiently. It is only a guess.
  5. Haha Thomas. Who are you in the video?
  6. Hi. Wood Butcher. Thanks for explanation What I do is to warm some the surface to glue with a hot gun. Then apply enough glue, rub the joint to drain excess of glue and clamp. Isn't that little brush of water enough to do the job you explain? As Berl say I ask to myself if the wood absorb the moisture so quickly Is that way a common use?
  7. Hi In the minute 1,48 of the link below there is something I don´t understand. Why she brush near the centre joint an dry with a lamp?
  8. Thanks Christian and Bill Michael. I tested as you advised me. After 3 hours of poured some turpentine over a glass. It left a somewhat sticky residue after evaporating. May be, mixed with the varnish, it remain into the varnish and I didn't notice that. And this may have bad concecuences in the future . Isn´t it?
  9. Hi Michael I will test my turpentine and will report results. There are not many options here. Is Gamsol a trademark? Surely is not sold in Buenos Aires. May be some option in an art supply store Thanks Michael and other for your replies Tango
  10. I am confused about names of solvents. Was reading "aguarrás" is not the same that mineral spirit. I have to ask about how we call mineral spirit
  11. Hi Michael Hi ¿Can I mix oil varnish with mineral spirit (AGUARRAS called here)? Here we use it with synthetic paints
  12. Hi I use to varnish with oil varnish diluting (sometimes) with a lot of turpentine. I aim to varnish without letting pigmented brush marks. I achieve better reults with more coats very diluted I like the results but I doubt about consequences of such extra-diluted varnish. ¿Does turpentine evaporate completely without let dangerous waste in the varnish? Thanks in advance
  13. Hi Davide So my suspicions where corrects. Thanks for your reply. Anyway what I aim to make a Stradivari model but not an exact copy of a particular one. That´s very dificult. Some musicians ask me why not to make a Strad or Guarneri because at this moment I only made my own model. I agree with you about making templates train the eyes. The most dificult I found, in making a violin, was to see and understand curves.I spend hours watching violins, photos and changing the angle of the light while working. But... always when I varnish I see bugs erverywhere. My way of learning is draw and use the tools after watching a lot. Thanks Regards Tango
  14. I was reading about it . My conclusion is that the year (1727) of the Herdim pattern may be wrong. Searchig and reading, I whant to rescue an old post by Davide Sora from 2016: Very true, and this depends partly on the fact that all copy the templates of the "master" without asking too many questions, because it is easier and faster and is expected to be commercially a better choice. Of course, by dint of copying approximately and without awareness, models are little by little transformed becoming bigger and fatter, often becoming a caricature of the original Not much different from buying already made templates, but at least the effort is commendable and forces to a minimum of observation of what you are doing. Also copy in the same way the original forms of Stradivarius is not that different at the end, what makes the difference is to use your head making the effort to understand what you are doing and why, so as to be more independent in the future and to learn to take personal decisions. Not an easy task and maybe not for everyone, speaking of professionals (leaving aside students or apprentices) for me is the difference between a violin maker and a workshop worker, without wanting to say that one is better than the other, but emphasizing that there is a difference.
  15. Hi all. A friend of mine will loan a Herdim patter of 1727 Mediceo violin to make a copy. I have a confusion about that. ¿This is the famous "Tuscan"? I think not because it is from 1716 year as I know. The quintet for Medici´s are from 1679 and I read that there was another "Medici" violin from17?? supposely for replace one violin of the quintet. Please. Somebody may clear the confussion? Regards Tango
  16. tango

    Neck projection

    Hi all Yesterday morning I decided the more affordable way (non invasive) to change the things to achieve to more common meassures. I took off the fingerboard, lowered 1 mm the the top of the neck at the heel , not at the nut. Actual measure from bottom of the fingerboard to the purfling si: 5,3mm. This lowered the overhang at the stop to 29,2 (aprox) and 21mm at the fingerboard. I think this is not so bad. The joint at the boton looks well. If the angle strings result is a little high yet I could rise a bit the saddle. The only concern is if the neck was correctli glued (wood to wood whithout any gap). Would this finish here or I will reset the neck one day? Thanks all for comments and advices. Really you make me think and take smartest decitions . Tango
  17. tango

    Neck projection

    HAHAHA indru!!! Are you a new troll?
  18. tango

    Neck projection

    No. I guess I moved the neck some. I measured 21mm at the end of the fingerboard when gluing and don't remember if I checked before let violin drying over the bench
  19. tango

    Neck projection

    Davide My overstand is 6,3 mm. There is no saddle at the moment. The violin is in the white, with only a plaster of Paris with oil varnish in the case as recommended Roger Hargrave. I think the main point is the strings angle ¿Isn´t it? I use about 158° but, guess , in this case, I will make a high saddle Tomas This measurements are taken with the glue dried. Uncle Duke As the neck is dry I whant to string the instrumen and test but would like to hera experiences about high projection. Thanks all for reply
  20. tango

    Neck projection

    Hi Sorry my english. At the fingerboard is 22,5. And at the bridge 30,5
  21. tango

    Neck projection

    Hi I glued a neck (by error) with a high projection 22,5mm. Usually I fit that at 20 mm without problems. Now I am thinking to fix it. But... ¿What do you think is the effect of a such high projection? Thanks in advance for your comments Regards Tango
  22. tango

    Cobalt dryer

    This is the dryer I use. Sorry the photo I can´t stand up this . It is cobalt dryer SENNELIER. I use two drops by one violin coat . Is it too little or it is ok?