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DarylG's Achievements


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  1. If buying a laboratory hot plate be sure it's rated for use with metal pots. I once saw the top on an expensive Corning hot plate crack while cooking varnish. A quote from the Cole Parmer website: "The primary advantages of the ceramic top plate are that it heats quickly and is highly resistant to corrosion. One of the drawbacks is that it does not offer the same uniformity of temperature across the top plate surface that other top plate materials do. Ceramic tops are also susceptible to thermal shock and should not be used when heating metal vessels or sand baths."
  2. I've experienced bad backlash in perfection pegs before. This was about 9 years ago. I was using them in student violins I was selling at the time with good results and then they changed. I could tell looking at them that they were a little different. The threads were sharper, the finish on the heads was different, and the small end of the peg was fatter. But the biggest change I only noticed after installing them, backlash. It was bad enough that I ended up removing that set and sending the others I had bought back. My understanding from inquiring with the distributor at the time was that the manufacturer had recently changed. I'm surprised to hear that they haven't resolved the issue yet, the older style perfection pegs were good. I still have that set I removed as well as some of the older style perfection pegs and comparing them again now, the difference in backlash is significant.
  3. I tried isopropyl achohol once and found it burns quite sooty, wouldn't recommend it for rehairs.
  4. One issue with the Wittner Hill style tuners is that the little arm that the screw pushes against is stamped steel and they have a rough burr on them that wears away the brass screw. If you push out the pin and file the burr off, it will work much better. Or you can just buy a ball end tuner.
  5. I was curious about this so did a quick test. I sharpened a chisel using a Shapton 1000x waterstone (removing the mirror polish I had on the back of the chisel). Then stropped it 10 times on each side using a leather strop loaded with Micro-Gloss polish. This edge easily passed the 65 gram test using 40wt rayon thread mentioned above. Then I made 20 cuts on the end of a soundpost (all cuts were clean with no scratch lines) and it still passed the 65 gram test. Then I made another 20 cuts on the end of a soundpost but this time chiseling down onto a green cutting mat. After that I was able to lift the 65 gram weight off the bench about an inch before it broke. I then stropped it 5 times on each side and it easily passed the test again. The test was very limited but the edge did seem "perfectly adequate" as Deo said. I might try sharpening some other tools like this and see how they do under more real world usage.
  6. I use Allback raw linseed oil for my varnish. Sage Restoration in Kingston sells it. https://sagerestoration.com/collections/purified-linseed-oil
  7. Does the Strad still include the posters with the magazines? I let my subscription lapse a few years ago when they stopped.
  8. 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.
  9. 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.
  10. Could you explain why the fingerboard becomes convex as the humidity increases?
  11. Most makers I know cook varnish in open pots. What are you hoping to gain by cooking in a corked erlenmeyer flask?
  12. 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.
  13. 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.
  14. I'm curious what the thin material in horizontal strips is for?
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