Mike_Danielson

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About Mike_Danielson

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    Enthusiast
  • Birthday 10/22/1942

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    Male
  • Location
    Richland
  • Interests
    Materials scientist--PhD

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  1. Mike_Danielson

    Store bought varnish? I think I've found the right stuff?

    ASTM D4303 - 10(2016) Standard Test Methods for Lightfastness of Colorants Used in Artists' Materials There are quantative methods to determine lightfastness, and commercial makers of violin varnish should be using them. As a reminder, reread Mrs Merrifield's recipe 399. Rread Roger Hargraves' recipe for varnish in his treatise on making a bass. Sometimes, it really is simple. Mike D
  2. Mike_Danielson

    Odd Cracked Pegbox Repair - Recommendations?

    I think leaving as is (brass plate repair) would have been a good idea, and I know that a few others agree. It would give the instrument some eccentricity, and you would not have to figure out how to hide the holes. Now to the bad news, once this break has occurred, the instrument is compromised at the scroll. Even Jacob's ideal of using a cheek plate which can hide the break still will result in compromise (meaning it will break easier in the future). The weakening comes about from the wedging forces of the conventional tapered peg. The CF repair looks useful, but I still think the easiest and least expensive repair is to rebush and insert a small diameter mechanical peg. The important idea of the mechanical peg is that it removes the wedging forces that can again split the pegbox if the instrument has another fall. From a fracture mechanics standpoint, you should try to blunt the crack (which in this case is the glued fracture surface). A bushing serves to blunt the crack; thus, making it more difficult to break, again. Mike D
  3. Mike_Danielson

    How to set up AUDACITY for reliable sound testing?

    Wow--you need to do some homework. 1. The internal audio system is not very good. Get a Behringer audio interface that uses the USB ports for power and input. $30 2. Microphones are very important. You may need to use a preamp for it before it goes into the Behringer. The microphone may need power to make it work, and that can be provided by the preamp. 3. All this has been worked out--just tap into it by doing some work. Mike D edit: https://www.amazon.com/dp/B00FFIGZF6/ref=psdc_11973691_t1_B000KW2YEI Read the PDF file instruction manual
  4. Mike_Danielson

    Suggetion to avoid crossing hair doing bow rehair

    The ferrule is wider than the tip. It will be easier to avoid crossed hairs if you start rehairing at the tip because the hair will fan out (become less crowded) as you approach the ferrule. I have never had a player that could tell if there are a few crossed hairs. So, this may a a worry that is not real. Mike D
  5. Mike_Danielson

    Henry Strobel, Sr.

    I liked what he was doing. He was methodical and creative in his research and very careful in his statements. I very much liked his book on "Useful Measurements...." I bet every shop in the world has a copy of that. His other books were also useful--there were lots of them. His work was very helpful Mike D
  6. Mike_Danielson

    Odd Cracked Pegbox Repair - Recommendations?

    I would not do the CF repair. Ream out the hole and bush with either a kraft paper bushing or wood bushing, depending on much the hole needs to be reduced in diameter. Then use the smallest diameter planetary peg (mechanical peg) for that location. Maybe do all 4 pegs. The bushing will give the repair enough strength since the mechanical pegs do not jam into the hole very hard. Mike D
  7. Mike_Danielson

    Why does my wolf note move?

    The cello wolf is a popular subject on this site. G is an unfortunate wolf because of the open string and harmonics. You can make a capo with a piece of string tied around the neck. Bow the note and feel the top with the left hand. You will find it located (usually) below the f-hole (bassbar side). You can shift the note by using a wolf eliminator that is attached to the afterlength. It would not hurt to have a luthier take a look at it. Changing the afterlength will probably have an effect. Soundpost less so. String change will shift it. Mike D
  8. Mike_Danielson

    Vernice bianca vs plaster ground

    Just a thought: if you want to keep future woodworm or other bugs away, do not put food on the wood. Mike D
  9. Mike_Danielson

    Lake, Rosinate, lightfast?

    If you want historic recipes, then read the work of Mrs. Merrifield. The recipes leave a lot unsaid but their simplicity should be listened to. Roger Hargraves's work is very similar to what Mrs. Merrifield reported, he just needed to use a higher temperature to develop the color, faster. It has to be simple or they could not have done it 300 years ago. Do not screw it up. Mike D
  10. Mike_Danielson

    The ground ( sealing) of the great masters - which was it ?

    Danube fiddler--most of your questions will be answered if you read Bruce Tai's Review of Stradivari's Varnish. I am surprised that no one mentioned it. Be more suspicious of G/B's book and Echard. A great problem of G/B's book is to suggest the idea that the initial varnish is a very lean oil varnish. Read Nagyvary's comments--he is the guy that would know the reliability of the analytical method that leads to this conclusion--and he is suspicious of this conclusion. Your guiding rule should be simplicity. If is complicated, they did not do it. Mike D
  11. Mike_Danielson

    Varnish melting point and repair options

    This is too bad. Pictures would help. Here are several suggestions: 1. Take it to a luthier who will strip and revarnish. 2. Take fittings off and use spray paint to paint it blue. Put stuff back on and play. 3. Do nothing. It becomes a conversation point. Mike D
  12. Mike_Danielson

    The ground ( sealing) of the great masters - which was it ?

    For those that cannot see the advertisement, I pasted a page from a 1900 Strad magazine. It was an Ad for Whitelaw's amber oil varnish that promised that it was "identical to the best Cremona varnishes." I had no idea that there would be a problem that would prevent some people from seeing the ad. The New York Public Library had copied all these old Strads (which are available on-line), and I made a copy of the Ad and pasted it into Maestronet from a Pdf file. Anyway, you can see that the varnish issue has never gone away. There has been plenty of pontification over this issue in the last 118 years. Mike D
  13. Mike_Danielson

    The ground ( sealing) of the great masters - which was it ?

    This might be of interest from a 1900 Strad magazine. Wonder how that Whitlaw varnish worked out over time--but it is the finest varnish in the world. I bet there is a lesson in this. Mike D
  14. Mike_Danielson

    High resin content varnish

    Michael, how do we know that two different varnishes were used? Is there any data in the literature that points this out? Isn't it possible that just one varnish was used, with and without coloring stuff added. Nagyvary says that it is likely that the famous instruments have been french polished many times (over 20 in his quote). That would insure that the outer coat would be a clear, low color of shellac. But depending upon how much alcohol was used and the propensity for the oil varnishes to dissolve in alcohol, the outer layers could be a blend of original oil varnish and shellac. Mike D
  15. Mike_Danielson

    High resin content varnish

    The only decent review of the Brandmair & Greiner (in a scientific sense) was carried out by Nagyvary. And he was very skeptical about the "lean" oil varnish that the authors discovered--saying that the FTIR method was not capable of making this analysis, accurately. With that in mind, I would not put any effort into this lean varnish idea. Rather, I would fall back on the idea of "keeping it simple." That is, the masters used one varnish for the entire work, but they probably added stuff to it (coloring agents) to get the right color or thin layers that were incorporated into the varnish. Nagyvary also mentions that there is a lot of particulates or solids in the varnish (10% in some of the violins)--that sounds like a lot to me. They could have been put into the varnish or directly applied to the varnish coat with a thin coat applied over it--this latter suggestion repeated again and again. I would err on the side of simplicity. Mike D