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Everything posted by DarylG

  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?
  15. I've had loose pips cause buzzing. If the pegs have collars they likely have pips too.
  16. 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.
  17. 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/
  18. 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.
  19. In addition to the good advice already given, don't forget to glue size the end grain of the heel.
  20. 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.
  21. 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.
  22. 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
  23. Hi Michael! It's a very nice violin and difficult to understand why it wouldn't get past the first round. Cheers,
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