Urban Luthier

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Everything posted by Urban Luthier

  1. Hi Members Not sure if anyone else uses the lutheris' library http://www.theluthierslibrary.com/ (linked from the national museum of music's website) This is a fantastic site with lots of good photos of instruments in the NMM and Met collections I just paid my subscription and used it a few times. When I went to log-in this morning I wasn't able to access the site -- I received a domain name error. I sent an email to the NMM asking what's up, but I haven't heard anything yet. Anyone know what's going on? Thanks Chris
  2. The Maggini pictures are really interesting. Thanks for sharing. I'll check the HIlls reference as well to see what they have to say
  3. This is very cool, joe thanks for sharing. Wondering how early the trend started.
  4. Oh I get it. The end of the paint tube unrolls and is actually open. Never thought to unroll a paint tube to check. I always thought they were sealed like toothpaste tubes.
  5. This is a good idea, just wondering how you manage to pour your varnish through the small opening of the empty paint tube. Do you use a small funnel? Chris
  6. I've often wondered if some of the latter Cremonese masters 'lightly antiqued' their new violins. I've read In the late 17th and early 18th century some violin virtuosi preferred the work of the early masters from a tonal perspective-- Correlli played a 'Grand Amati' Vivaldi a Stainer. Correli's violin could have been a hundred years old when he acquired it. Is there any evidence that players in baroque area also preferred 'antiqued looking' instruments over say the sharply defined 'le Messie'? Would there have been makers who offered newly finished instruments as well as antiqued looking ones based on client demand -- similar to what we see many makers do today?
  7. ha, fun would be taking one of your varnishing classes!
  8. Would love to understand what this looks like at a molecular level -- but I suspect it is beyond my limited knowledge of chemistry! I've been looking at old posts trying to understand the various ground options. My head hurts. I'll probably experiment with something simple like a vernice bianca or shellac ground this time around (I used sprit varnish as a ground last time). I'm fairly early on in my work on this fiddle, so I have a bit of time to experiment on scrap. I want to be better prepared this time around. Spending 200 hrs making the thing, only to wreck it with a poor finishing job is no fun.
  9. Thanks guys. This is helpful. Joe, if I understand correctly your coloured varnishes have the colour attached to the varnish molecule itself. Does that make your coloured varnish more intense compared to mulling pigment into the varnish? Thanks Chris
  10. Good advice thanks! When you say 'by weight' do you mean the weight of the pigment vs the weight of the varnish or by pigment weight vs varnish volume? Looking to compare apples to apples. I know I will have to experiment and this is part of the fun, but I'd rather get on the right path and tweak from there than start out by making a real mess of it. Thanks Chris
  11. Hi forum members, I've been lurking here for a bit searching the archives and this is my first post. I'm an amateur maker, back from a 10-year hiatus and now getting into violin making again. This time I'm experimenting with making my own lakes to colour the varnish. I made my first batch of pigment from madder root and I plan to mull the raw pigment powder into linseed oil to the consistency of toothpaste before mixing into the varnish. I need some advice on how much of the lake should be mixed in with the varnish itself to get on me the right track 10%, 20%, 30%?. (For example I like the color consistency of the varnish in the article by Adele Beardsmore and Alan Coggins (see the last photo http://www.abcviolins.com/varnish.html). I'll be using Joe's varnish when I get around to ordering some. Thanks for your advice Chris