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About Mike_Danielson

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  • Birthday 10/22/1942

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    Materials scientist--PhD

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  1. Edward Heron-Allen is the definition of the autodidact. His book reflects the knowledge of violin makers of this age. If you read the book, you will realize that Heron-Allen is detailed and through. You will find the book interesting, and wow, look at the comments throughout the book--what a breathe of knowledge. By today's level of violin knowledge, the book is dated. Mike D
  2. Do we have any idea where the wood comes from since it is in short supply? I suspect it is from old stumps, railroad ties, fence posts, buildings, etc. Non-ideal sources when you prefer the wood to be split from the log so you can get straight grain. If it survives the bending process, it will probably be OK. Bows are used in an elastic mode; so, they will not be stressed unless an accident occurs (like a kid using it in a sword fight or sitting on it or making a TSA agent angry). regards Mike D
  3. Using GoJo hand cleaner as a varnish cleaner is an interesting idea. I looked up the Safety Data Sheet and discovered that there is more than one type of GoJo. Do you use the Original or the Super Max, for example. The main GoJo ingredient is mineral spirits of about c11 to c15 which is a little heavier than mineral spirits or white spirits. There are stronger detergents in the SuperMax compared to the Original. This is something worth trying (with the usual precautions, of course). I do not understand any mechanism that would harden the varnish, but I could see how you might get tha
  4. The varnish has imprinted from the textured cloth, only on the back where pressure was applied. Why not on the top since the instrument must have been compressed in the case? I remember German varnishes of this age on cellos that appear to be uncooked, and they suffered from alligatoring. Could this be alligatoring? Jacob Saunders would be a good source of information for this problem (and perhaps what the maker used as varnish--it is likely this was used at the school by others). I would be interested if there is a fix without significantly altering the original varnish.
  5. You forgot to mention what model is being sent to you. This price is probably the wholesale price, and it is about as good a deal as you are going to get. I have seen 3 cello bows of CodaBow fail in this region, the last one was a colours model. The other day, I rehaired a CodaBow Diamond NX for cello. There was barely room for the standard amount of hair under the slide. The frog was the Xebony plastic material. I did not try to fix this since it would probably damage my tools. This is an amateurish mistake for a company that makes lots of bows. Mike D
  6. I understand Jacob's nostalgia--this is a connection to a family member. I had a Stanley plane from my Grandfather which had a crack starting at the edge of the opening in the sole. Eventually it broke and the plane was ruined. I mourned this loss because I had no other connection with him. My grandfather immigrated from Denmark and started a construction business in Iowa--the business still exists. Newer planes are better, but the old planes are "good enough." Just think about it, the steel in the tools of the masters was pretty crappy by todays standards, but it was "good e
  7. I have seen this failure on old Codabows for the cello, but I have not seen it on the bows for violins and violas. CodaBow sits on this proprietary information in my experience. They are not a bad company, and their bows work pretty well. The OP will have to throw themselves on their mercy--I hope the OP reports back. I like Violadamore's analysis. I cannot see all the detail that she sees but maybe she has a better picture than appears on my laptop screen. Too me, the outer skin appears sunken and implies that the epoxy skin was elongated due a failure (fracture) of the internal fi
  8. Everything about CodaBows is proprietary. You will have to go to them for help. The Conservatory model is ancient; that is, early in CodaBow evolution. The present day warranty is for the original owners. Are you the original owner? I suspect there is no warranty for you, but it does not hurt to ask. I think there is an internal reinforcement in the old CodaBows at that location--perhaps a pin or rod. There is no repair for this that I am aware of. I would just keep playing with it until it breaks off or becomes unplayable. Mike D
  9. This subject comes up, periodically. Here is an old thread on the Zaret bass bar, the most extreme bar I have ever seen: https://www.violinist.com/discussion/archive/12622/ I have seen early Zaret bass bars which are about 25 mm tall the entire length--how about that. So what is the role of the bass bar--I think it acts as a support (fulcrum) for the bridge, and it does not need to be massive. I do not know the best dimensions., but the existence of the Zaret bar indicates a lot of variation is possible. I do not think bass bars get old and on the basis of that need replacement.
  10. Chemist here: The rosinate is a salt. The purpose of cooking the oil and rosin is to achieve a chemical reaction between the oil and resin. A polymerization reaction. Cooking at 120 C (as Jackson reports) is not a very high temperature to achieve the polymerization, but I cannot say it is impossible if it is maintained for a long enough time. The traditional Michelman varnish is a complete failure as Don Noon states. John Masters lives in Cincinnati and has seen the old instruments with this varnish, and has reported on it on Maestronet. Good luck with this topic Mike
  11. I just got on the VSA website and discovered there is no Table of Contents for "The Scroll." Is there any way we can see the Table of Contents for the most recent journal (as well as the earlier issues)? Mike D
  12. Fred, I would like to see a picture of this stuff. I know you are aware of the history of black oil, maroger's medium, megilp, etc as mediums in the oil painting world.; so, I will not say any more. Have you considered transparent yellow pigments such as W&N transparent yellow? This could be added to a thick linseed oil and rubbed on the surface to enhance the yellow-ness of the ground as well as seal the wood. There are a bunch of transparent and semi-transparent pigments of various yellow hues that would also work since you are putting them directly on the wood. Discla
  13. After listening to Echard's lecture, I reread the work of Barlow and Woodhouse. Their Stradivari sample with the particulate layer has no date--in other words, they do not know what instrument it came from. Maybe the early Strad instruments used a particulate ground and Strad moved away from it. I was thinking there was a connection between Amati and Strad, and thus, the Amati instruments might show this particulate ground. Barlow and Woodhouse did examine a Nicolaus Amata of approximately 1660, and they found no particulate layer. But the varnish did not penetrate the wood, either, c
  14. The question about proteins starts with Christian at 1:26:21. Thanks in advance Mike D