Posts posted by Mille regardz
When two media dissolve each other or when they are miscible, it is very difficult to say anything about the volume proportions based on what you see in the resulting mixture/solution such as in your vial.
In my opinion, the only possible way of referring to volume proportions in such cases is to refer to the volumes before mixing. Something like "2 teaspoons of water were added to 1 teaspoon of glue".
You can find the patent for these pegs here:
36 minutes ago, reg said:
Would there be enough value to the violin to have that soundpost crack invisibly mended?5 minutes ago, jacobsaunders said:
I don’t of course know what it’s worth to you, but if you walked into my place wanting to sell it to me (as is) the haggling would start at around €300
And for around what price would you try to sell it after you would have invisibly mended the soundpost crack and other cracks?
Where are you and the dealer located? Johannes Cuypers violins are quite popular in the Netherlands, so you might be able to sell quicker through a Dutch dealer.
21 hours ago, Jim Bress said:
You cook for color separately from making the varnish. Reducing the weight by ~80%. You need approximately twice the cooked colophony as you have in the varnish. Remelt the cooked colophony and add 1:1 LO by weight then add to varnish.
I cook the colophony for color first. Then do everything else the same time.
I am not sure if I understand you correctly.
Do you mean that if you make a varnish using 100g colophony and 100g linseed oil, you would add another 200g of cooked colophony for color (obtained from 1kg uncooked colophony) and 200g linseed oil? That sounds like a lot!
Or would you add 40g of cooked colophony (obtained from 200g uncooked colophony) and 40g linseed oil?
4 minutes ago, Marty Kasprzyk said:
A top view doesn't show the actual neck length if the neck angle is tilted downward.A top view is only correct when the neck goes straight out.
True, but for (for instance) a neck angle of 5° and a neck length of 130 mm, the difference is only 0.5 mm, which seems within the error margin of taking measurements from photos anyway.
8 minutes ago, Michael_Molnar said:
Which “old instrument”? Which maker? Made when? Which research group? Which scientific tools?
All very good questions!
My idea was to start with the broad question if there is any evidence obtained by any research group using any scientific tool that can differentiate between potassium silicate and other forms of potassium and silicon, about any string instrument from any period by any maker...
If the answer to this very broad question is no, we might not even need the more specific questions anymore
6 hours ago, David Burgess said:14 hours ago, joerobson said:
Water glass...potassium silicate....Rubio Ground...interesting. These elements have been observed in the old varnish studies.
Potassium and silicon are common in the earths' crust. Their presence is not necessarily indicative of potassium silicate. Could just as well be dirt or mineral dust.
Does anyone know of any evidence that the potassium and silicon that have been detected on old instruments using elemental analysis would specifically be in the form of potassium silicate? If not, I agree that there are countless other possibilities for these elements to end up on a varnished or unvarnished instrument.
7 hours ago, JackSchmidling said:
I think I confused things a bit. The orig pic was of the rental instrument and the one here is my violin after they replaced the bridge. As can be seen here the bridge is in the right place but the C to C distance between bridge and sound post is about 10 mm. It was less than half that when I brought it in.
I was told that the guy who did it was on a fishing trip.
Apart from measuring the location of the sound post in a different way, I would also consider using a more accurate ruler, because the first mm on the ruler in the photo looks like it is almost 2 mm.
This website seems to give some basic information about the maker: https://hu.museum-digital.org/index.php?t=objekt&oges=43742&navlang=en
Christiania/Olso would be Norway (or Denmark-Norway in 1770), not Sweden
18 hours ago, nathan slobodkin said:
For a while T-nuts were common on cellos to provide extra hand clearance in first or half position. Does anyone use such a stepped nut to increase neck measurement on violins? Seems like an inexpensive modification to short necked French instruments. I can’t really think of a downside other than looking funny and perhaps wearing out a bit faster than a nut with a wider string bearing surface.
I don't think I understand, wouldn't a t-nut decrease instead of increase the already short neck length and only make the problem worse?
2 hours ago, joerobson said:
My guess..looks like what they used to call Barber's acid which was a weak lye solution.
Interesting, barber's acid, which is a weak lye solution sounds a bit contradictory... I did a bit of searching online, but I didn't find much additional information on barber's acid. Can you tell me what barber's acid consists of?
Is it me, or does it look like the button is separated from the neck heel?
By the way, the intention of my previous post is not to impact anyone's business positively or negatively, but to show that copying photos from a dealer's website and posting them on a forum without a link is not the best way to 'not identify' the dealer.
It is often quite easy to find out where unidentified photos originate from. Just do a reverse image search on Google (images.google.com), and it turns out that the photos appear to originate from this website:
The purfling corners of the front do not look similar to those of the back at all. Could either the back or the front be a replacement, especially the back with that huge ebony button crown?
5 minutes ago, martin swan said:
With respect, I think the problem is one of asking a question on a violin-making forum. It's impossible to know if the person answering has any serious ability to identify timber or not.
I would just point out that I ran a sawmill for the best part of 15 years, and felled and planked pretty much every hardwood that you might find in north Central Europe. Beech is so common here it's practically a weed, and I really don't need a microscope to recognize it.
We aren't trying to identify a species of spruce (which isn't that difficult if you've got a standing tree to look at), merely to distinguish a very common tree with known characteristics (elephantine smooth grey bark, false heartwood of a yellow/brown hue, yellow rot in the centre, very wide annular rings with pinkish grain giving way to yellow on the outside, odourless shavings etc etc etc) from various other things which don't have those characteristics. Apple has a bark made up of plaques, olive doesn't grow in Holland, Norway maple has a diamond-patterned open bark and doesn't have a pink hue, hickory (not European) has a heavy dark grain pattern, etc etc ...
In that case I think I got lucky that I ran into someone who used to run a sawmill on a violin forum
Thanks for all your suggestions and I hope you have a Christmas as wonderful as my piece of beech and I have!
17 hours ago, uncle duke said:
Apple, pear or plum in that order or plum, apple or pear. If this was cut right outside the house it is probably apple. Tough to really tell from here.
Based on your suggestion, I think it might indeed be apple. There are some pieces with very similar figure on this website: http://hobbithouseinc.com/personal/woodpics/apple.htm, and the specific gravity of 0.83 (https://www.wood-database.com/apple/) also does not seem to be too far off compared to my estimate of 1.
And it also makes sense that it isn't any tropical variety, but just wood from an apple tree from someone's back yard...
So, does anyone have any (good/bad) experience using apple wood for fittings?
5 hours ago, Jim Bress said:
Having the bark is a helpful clue. Do you know the region it came from?
Unfortunately, I don't know what region it is from, and neither does my aunt whom I got the wood from. I live in the Netherlands, but I think wood this dense typically does not grow around here.
tailpiece fret string notches?
in The Pegbox
Pusch style tailpieces have notches for the strings, but I guess this is more a feature of the built-in finetuners than a feature of the tailpiece's fret (which is not really used because of the finetuners).