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Jim Bress

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    : Maryland, USA

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  1. Maybe a good analogy for you (as to why the word 'burn' is used) would be image burn-in on a TV or monitor screen.
  2. I use a gypsum ground with colored oil varnish. The varnish is mostly bound/absorbed(?) into the gypsum which lets you get color into the wood with reduced risk of burning.
  3. Hi David, I still have it. If you’re interested send me a DM.
  4. For option 2 I think you’re just mulling the powdered resin into your already prepared “clear” varnish. I haven’t tried it but that’s how I remember Joe describing it. For 3 that’s exactly right. The cooked rosin should ‘dissolve’ (I don’t know what’s actually happening) into the varnish during the time that you’re incorporating the mastic in. This is how Joe did it in the past.
  5. Hi Mitchell, I learned to make this varnish from Joe Thrift who learned to make it from Roger long before the bass blog. I would say the reason for having two parts is for control of the varnish. While the varnish making is chemistry, how you bring the two parts together is more like cooking. Your application and end goal will dictate some of your choices. The cooked rosin should be reduced by weight by 80-90%. It looks black unless holding a very thin sliver to a bright light. This stuff is too dark to use with just linseed oil and mastic. What I do is make the uncolored varnish (using uncooked rosin) and a second batch of varnish the same way using the cooked rosin. I then combine the two varnishes. When the temperature becomes stable at 100 C, I add the mastic and hold it at that temperature for a couple of hours. The mastic will thicken the varnish but you can thin it somewhat by adding a bit more oil. I try for room temperature honey thickness. If the varnish isn't quite dark enough I'll add more of the varnish made with just the cooked rosin. Joe's critique is that it's a very time consuming approach that gets you to the same place as other methods that are quicker. However, it works for me and I'm comfortable with it. Option 2, you can make the varnish with the uncooked rosin, then grind up the cooked rosin and use it as a pigment. I've never tried this way. Option 3, Kind of blends the first two options. Make the uncooked rosin varnish as before. For the second part, grind the cooked rosin into a powder then mix (cold) into oil at the same ratio as before. Add this mixture to part one, before adding the mastic and continue as before. I'm sure there are more ways of skinning this particular cat, but these are the versions I'm aware of. I use this varnish without solvents because I can't be around turps, so I can't help with your second question. Cheers, Jim
  6. Yes, that's exactly it. "Raise the wing ~0.5 mm and it feels like this".
  7. What I learned from a maker that I spend time with every summer, for new making, make the wing level then raise it 0.5 mm with the first post. I'm not sure of his procedures after that (but I guess I should).
  8. Joe just sent out messages to get head counts. I think there’s still some open benches if any folks are interested. I’ll be there for both weeks as usual. Cheers, Jim
  9. I did check the Strad but issues aren’t going back to 2004. Although as you say I’m not sure I would buy the issue with the amount of photo access available from tarisio.
  10. I got the poster yesterday. Very nice for an older poster. It could use more pictures of the scroll, but there are plenty available from Tarisio, so no big deal. The archings definitely give the impression of an inflated balloon. I'll be visiting the Ashmolean this weekend. Maybe I'll get more inspirations from there.
  11. Hi Dwight, please forgive an old-ish scientist for over analyzing the words written (occupational hazard). But there are logic/premise gaps in your statements. I only point this out because you clearly have some first hand (ear) experience with at least two PG violins and I would like to hear more about your experiences with them. why? Because while I am enamored with PG’s esthetics, I need to decide on whether to follow his archings or to what extent I follow his archings. Thanks, Jim
  12. Dwight and Jeffrey, thanks for the references. I have been studying pictures from Tarisio. I haven’t found PGM models from Leandro Bisiach. I’ll keep looking. I like how his scrolls have evolved over time. I ordered the poster last week and should be getting here in a few days.
  13. You captured the spirit of pretty well. Do you remember what year it was? I’m guessing pre-1700 from my just beginning to study Pietro #1 fiddles.
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