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About DarylG

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  1. Personally, I always start with a drawing of the finished outline I want to achieve, then I make the templates and molds from that drawing.
  2. My experience is that the real dust problems happen when you're applying the varnish. It's either in your varnish, or in your brush, or it's on the violin, or it's falling off you while you're applying. Most of the oil varnishes I've worked with setup fast enough that by the time it gets to the light box any dust that the varnish comes in contact with just sits on the surface and is easily removed later.
  3. Could you explain why the fingerboard becomes convex as the humidity increases?
  4. Most makers I know cook varnish in open pots. What are you hoping to gain by cooking in a corked erlenmeyer flask?
  5. How long are those f-holes? The position of the lower corner is fine if it's 202mm to the tip of the corner but the upper corners are low and might cause some clearance issues. I wouldn't want to make the stop length shorter as this will make the bow hand closer to the upper corner. I also wouldn't tilt the fingerboard toward the e-side when setting the neck.
  6. I meant that there appears to be a thin whitish material, perhaps a fabric or paper, over sections of the top. You can see some wrinkles near the neck block area.
  7. I'm curious what the thin material in horizontal strips is for?
  8. I've had loose pips cause buzzing. If the pegs have collars they likely have pips too.
  9. In a sealed container the relative humidity will go up as the temperature goes down, and the relative humidity outside during a snowstorm is likely going to be pretty high. My experience is that cold temperatures by themselves rarely cause issues and people often shoot themselves in the foot trying to protect their instruments from the cold. The biggest concern I would have would be the humidity in the shop when the power comes back on and you're heating the shop back up.
  10. Claudio Rampini described a "quick" method for making linoxyn a while back. Here is the link: https://maestronet.com/forum/index.php?/topic/317231-time-to-make-varnish/
  11. The end of the neck that faces the bridge. I also put a small chamfer on the bottom edge of this face to give a place for excess glue to go.
  12. In addition to the good advice already given, don't forget to glue size the end grain of the heel.
  13. Davide Sora has some videos on youtube that show him varnishing with spirit varnish. If you haven't already, I'd suggest checking them out. Oil varnish will be easier to apply in even coats but has its own challenges. Unfortunately, there are no easy roads to varnish happiness.
  14. Agreed, but I do think that it's fairly plain to see that the soundpost area of the top is much lighter than the wear areas in the upper and lower bouts. I think there can be quite a lot of color on top of the wood in the "bare" areas of old violins (and antiqued new ones). Just my two cents.
  15. Christoph Gotting has a nice photograph of the Gibson Strad during restoration on his website that I think highlights what David is saying. http://www.gotting-violins.com/goetting-gibson-huberman.php