Muswell
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London/ Welsh Marches
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Guitar, Spanish
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Thanks for the update, it looks good and you must be pleased it turned out so much better. I used Old Wood for a good few years. I too found that using the (expensive) tubes of pigment was quite tricky, and also found that with Classic Amber and Brescia Brown the colour was a bit too yellow. But I got a good finish which wears well and is not chippy. I moved on to a different system, which has been discussed here, but there were lots of problems and although I got a really nice colour and, with ernym's help, overcame a chippiness problem, the durability is disappointing. Unfortunately it takes a while for that to become apparent. So, I'm going back to Old Wood. I see that since I last bought from them they have brought out more colours and have a chart of samples of the colours. It used to be a bit of a pig in a poke choosing based on a written description. Going back to earlier posts, I use my fingers to apply the varnish, thinned. I like the control it gives. Good luck with number 2
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Question about classical method of binding ribs to the mold
Muswell replied to Dr. Mark's topic in The Pegbox
I use the string method, it's quick and you have good control over what's happening. I've tried clamps, and u-bolts, but it always seemed like I needed an extra hand. -
I keep glue in a specific rack high on the fridge door. It doesn't get lost but I have to deal with a certain amount of negativity from the other fridge user.
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Can't get rid of tiny bubbles in oil varnish....
Muswell replied to Matthew_Graesch's topic in The Pegbox
I have used Old Wood, which I applied with nitrile gloves, and the finish was good. I didn't stir the varnish, followed the OW recommendations for thinning and used their thinner. I would change the application method and save yourself the bother of brush cleaning. -
I keep the workshop at about 14C with an oil-filled radiator through the cold months and have a couple of cheap infrared heaters fixed at high level. They provide instant directional heat and keep the bench area nice and warm when necessary. I also hold parts close to the heaters to warm them up before glueing,
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I once used fish glue on a guitar. Maybe not all formulations perform the same but the first thing I didn't like was that it was difficult to undo. A few years later the second thing I didn't like was that the guitar started coming apart, even in joints that were under minimal stress. And it smells bad. I too tossed it out.
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How do you get honest opinions on living makers?
Muswell replied to szuper_bojler's topic in The Pegbox
. Before I retired, when people came to me and asked if I would look at a letter that they wanted to send I always said don't send it, before looking at it. -
It depends where the English speaking person lives. America and England are two countries separated by a common language...George Bernard Shaw
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Who's buying all these violins? The pool of violinists in the area where I play is ageing and there are almost no younger players coming through. One local youth orchestra has effectively become a wind band. For many years now the political environment hasn't supported musical education. Two of our local orchestras give concerts for the schools in the area and this is generally the only exposure that the kids get to "classical" instruments and music.
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While on the topic of bass bars.....In the July Strad there was an article by Joseph Curtin who reported on experiments on the bass bar at the 2023 Oberlin Acoustics Workshop. It was about the effects of height and scoop.
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I put gut strings on one of my violins and had the same experience, it has also been very interesting working on how to use the bow. As an aside, I was struck by the difference between these strings and others which are claimed to try to have the sound of gut.
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How much "normal maintenance" should a string player be prepared to do?
Muswell replied to Royce J.'s topic in The Pegbox
You might think so but I've stopped being surprised by how many reasonably good amateur players won't do that, and can't be persuaded to try. -
How many grains high quality soundpost should have?
Muswell replied to ViolinAnanda's topic in The Pegbox
I worked with acousticians on the design of a number of performance spaces. They told me that one of the hazards of the job was was that they ended up listening to the acoustic rather than the music. Maybe musicians do the opposite.