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About JoeDeF

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  1. Pegheads

    Assume nothing about the glue being used; you don't know what it is. I remember the directions recommending polyurethane glue, and hearing of CA glue (super glue; cyanoacrylate) as a recommendation. Muswell (above) also mentioned Titebond (PVA). None of these glues are water soluble. CA glue is softened by Acetone. Some PVA glues respond to some milder solvents like "De-Glue-Goo,"and heat and moisture (steam) will soften many of them, but they're not all the same. Polyurethane glue is very hard to remove; I don't know a good solvent for it. The one thing I'm fairly sure of is that if you damage the pegbox or neck, or heaven forbid, the corpus (or body) while trying to remove the Pegheads, the repair will cost far more than a new set of Pegheads (or Knilling Perfection Planetary Tuners, which are cheaper and plainer but essentially the same mechanism). Unless you have excellent woodworking skills, tools, and experience, I would either take it to a luthier or just get a new set for your new cello. If you have a reamer and can follow directions and money is really tight, you may be able to install the new set yourself; that's far safer than uninstalling a set.
  2. Bass bar tuning

    This principle is still in use in the Erhu (China), Kamanche (Iran and nearby nations), and other instruments (including most spike fiddles that I know of). They tend to have a tiny surface area as compared to Western bowed instruments, but can project very well.
  3. Fake maple flaming?

    HI Mason, It pretty much has to be painted on; look at how it stops at the edge (very visible in at least three of the pictures). Real flame is a perturbation in the growth pattern/fiber direction in the wood, and would be visible from the edge (though it would look different since the edge is more or less perpendicular to the back and would show different aspects of the fiber pattern). (Edit) In the electric guitar world, there are nearly paper-thin veneers that are sometimes pressed onto the curved body of the instrument for looks (and in the cheapest ones, a printed piece of paper is used as a substitute for the veneer). Though it might be possible to do something like that in a violin, that technique doesn't seem to have been used here. I just wanted to point out in this edit that someone who really wanted to make a very thin layer of real flame stop at the edge could do so (though why or if they might want to, I don't know).
  4. Oil varnish shelf life

    A few things that can help avoid oxygen-induced polymerization and prolong the life of your varnish/finish: 1) Use the most airtight container you can find. 2) If possible, size the container so that the varninsh/finish just fits in the container, leaving little or no room for air/oxygen. 3) If the container has a considerably bigger volume than the finish/varnish to be stored, use an inert gas to displace the air in the container before sealing. Bloxygen is one brand (it's argon, which is heavy and sits on the finish, preventing oxygen from seeping in). (or) 4) Store the container upside down, so that the finish aids your air seal. 5) I have not used airtight squeeze bags to store the finish without air (StopLossBag is one brand), but the idea makes sense and might be worth exploring. 6) Another idea I have heard people advocate but have not used personally is to add marbles or glass beads to the container until the air is just about gone. Joe Robson's knows much more about finishing than I do, and his advice is good (as pretty much always). But just be aware that it is probably best to remove the air first before refrigerating (using a method listed above), because cooling can cause moisture to condense out of the trapped air, which might interfere with or damage some varnish/finish products.
  5. Fish Glue Failure

    Sorry about the glue joint failure. I only use fish glue for temporary non-structural joints that I want to be able to reverse easily and quickly (I sometimes use it to attach paper templates; they just wash right off when wet). I found the following link: On page 62, in comparing hot hide glue, cold (liquid) hide glue, and fish glue, this states: "The strength properties of hot hide glue have been shown to be less sensitive to fluctuating RH and temperature than those of cold liquid hide glue. Liquid fish glues are even less stable than cold liquid hide glues under fluctuating conditions." So, in terms of joint reliability: Hot Hide Glue > Cold (liquid) Hide Glue > Fish Glue That's my experience.
  6. Bridge comparison thread?

    I got the impression that they were going to fix some small errors and then repost the document. If that's the case, I'm not sure if the version that Julian linked to is the original or the corrected version.
  7. How do you "dirty" up a new instrument?

    On a possibly more helpful note, here are some relevant threads: Also, check out Roger Hargrave's epic bass thread/pdf:
  8. How do you "dirty" up a new instrument?

    Read it some selected David Burgess/Violadamore posts.
  9. White violin from the 18th century

    Thank you, Jacob and Blank face. Since the identification comes down to having looked at enough violins to recognize clearly most or all of the schools of making, and in the absence of an ID, assuming an amateur, autodidact or frankenfiddle, I guess learning a whole lot more is the only way to be able to make such an ID if one doesn't possess that level of knowledge yet. AkaBobH, it is hard for me to know what flaws and/or idiosyncracies are the result of the hands of the maker(s) and which are subsequent alterations or repairs (though the sanding is pretty obviously recent).
  10. White violin from the 18th century

    Sorry to interrupt the superhero talk, but if I may, what are the characteristics that point towards it being made by an amateur?
  11. Edgework and purfling after violin box closed

    … or awlful lines. You beat me to the oversized backplate cooment.
  12. Centre seam

    If I had to have (and/or learn from) only one book concerning woodworking, this would be it. Knowledge of the complex structures and diverse properties of wood inform good decision making in instrument making and repair, as well as virtually all other woodcraft endeavors. The first question I ask when contemplating a repair is "why did this fail?" Thinking through and applying the information in R. Bruce Hoadley's book usually points towards the answer. Understanding wood properties also goes a long way towards helping one to understand why many of the commonly accepted instrument making procedures and structures evolved into what they are. To the point of this thread, if I had to choose a second book after "Understanding Wood," it would probably be a sharpening book. Leonard Lee's "The Complete Guide to Sharpening" is very good, but I believe that there are now a few other good sharpening book choices as well. As for the question of whether smooth or fuzzy glue joints hold better, it depends on the method of adhesion of the glue in question. Smooth works much better when using most glues, including hide glue. However, there are some glues, like many epoxies, that bond by mechanical adhesion, making a rough but thoroughly wetted surface stronger. In fact, for some industrial grade epoxies, the best joint is made by wetting the wood with thin epoxy and wet sanding the epoxy into the wood, then adding the same epoxy with tough, fibrous fillers and lightly clamping the joint. That's not for violin making (of course), though. I can recommend "The Glue Book" by William Tandy Young for those who happen to be interested in learning more about how glue works at the layperson's level (which is my level concerning glues; I'm not a chemist). It's probably a bit far afield for traditional stringed instrument making and repair, but I found it invaluable for my piano rebuilding work (in which a variety of adhesives are now commonly used).
  13. Cracked Sound Post

    You have stated several times that the crack is in the top. But, the sentence I have quoted makes several of us (at least) wonder about the integrity of the back. What is the thin line that you can see on the back? Is it a crack? Is part of the grain of the wood? Can you feel it with your finger? Can you see it on the inside when you look through an f hole while shining a light inside?
  14. Cello neck and fingerboard finishes

    You can find some good approaches in this thread: I have used the sanding/coloring/sealing process as outlined by Matthew Noykos in that thread several times, and it worked well for me.
  15. guess the wood

    Here's a Monkeypod guitar (and a few guitar side and back sets), if you want to see the wood in musical instrument use: