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Everything posted by DarylG

  1. They are used in guitar making for cutting the rosette channel.
  2. Looks like a router plane to me.
  3. Best of luck at the VSA. I look forward to seeing more pictures when time permits.
  4. I'm late to the party but very nice work! The varnish color is quite tasty, it's difficult to pull off those amber ale colors.
  5. Congrats on the Gold medal! Well deserved, it's a great looking violin.
  6. Do you have any pictures of the completed violin? The pics and video you shared during varnish were very impressive!
  7. Congrats Joe! You've got some nice things happening with the varnish on this one.
  8. Depending on the brand, "teak oil" could be any number of different things.
  9. I'd be concerned about the humidity. It doesn't take much warmth in a lightbox to really drop the humidity level. I tan my violins before varnishing and will monitor their weight to ensure they don't dry out too much. Everyone's lightbox is different and I think tracking the weight is a good way to determine how long you can run the lightbox before cycling the lights off and how long it takes for the violin to recover that moisture. With that knowledge you could set a timer for the lights and leave them but personally I don't like to leave my lightbox running when I'm not around.
  10. Kreddle sells a rubber collarbone cushion. I saw one recently on a violin that came thru. It was interesting, but perhaps not for everyone. https://www.kreddle.com/cushion.php
  11. Depending on how you clamp the c-bout rib, you might have issues with the block coming loose.
  12. I think the first thing you need to establish is whether just the button has come loose from the neck or if the whole upper block is loose (my guess). I'd suggest inserting a palette knife to see if it will slide under the upper block (with strings off). If the whole block is loose than it's a pretty easy fix. Just re-glue it making sure the neck alignment and projection are correct. If just the button is loose then I'd say it's possible that the neck wasn't fully seated against the back when the neck was set and you'll have to remove the neck and reset it.
  13. Davide Sora has a wealth of information available on his youtube channel. I'd start there.
  14. Try here: https://maestronet.com/forum/index.php?/topic/350920-titebond-glue/&do=findComment&comment=961139
  15. That's what I do too, but I've never done it with a neck glued on. I thought that might be awkward. But also I was wondering if he glued the neck on before putting the back linings on. I was assuming that he planes the taper before gluing in the linings.
  16. Am I right in thinking that you don't have the linings on the back at this point? When do they go on?
  17. I found this while researching the GE bulbs Urban Luthier mentioned above. There is some good info in the test data link including slow-mo video of the flicker. https://www.reddit.com/r/Biohackers/comments/vbbmzj/how_to_replicate_full_spectrum_sunlight_indoors/
  18. You're right, I don't know how it sounds. I only meant to say that since it's being used professionally and is not a museum holding it must at least function at a basic professional standard.
  19. There is a del Gesu from 1742 listed in Jeff Leon's graduation book that has a recorded weight of 77.6 grams with bassbar. It's listed as being a professionally played instrument so must work fairly well.
  20. Thanks Jeffrey, I'll give that a shot.
  21. Hi Jeffrey! Would you be willing to elaborate on your modified knife table? I recently got a Tormek clone and bought the Tormek flat tool rest for it but found I can't adjust it to work for the lower bevel angles of knives. I experimented with clamping an old plane iron to the tool rest to extend the platform so that I can set the desired bevel angle and still have the platform reach the stone. It worked well enough to prove that I was on the right track, but I'm curious about what solutions you've come up with. Thanks,
  22. 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."
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