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  1. Taking out test label

    I'll give this a shot. I used hide glue.
  2. Taking out test label

    I purchased a white violin off ebay to practice varnishing. I varnished it, and it has been hanging around for several years. I figured I might as well glue on a fingerboard, put some strings on it, set it up correctly and pass it along to a student. In any case, I had practiced inserting a "test" label into this fiddle. I wanted to practice inserting a label through the f hole, before I attempted it on one of my real instruments. It was one of my real labels, but I can't sell it like that. What's the best way to get it out of there? Should I put some damp paper towels over it, and leave it for a couple hours, then hope I can peal it out? I suppose I could just label over it, but that could be a cause for confusion down the road if the first label became humid and peeled off. I'd rather start fresh with a new label explaining that I did the varnish and setup work, but it's a chinese instrument.
  3. miniature milling machine

    Oh, I thought you were talking about a heat treatment for bluing like you'll see on old firearms.
  4. miniature milling machine

    Don, this is the type of machine I was thinking about purchasing. Which type do you have? I see they can be purchased at Harbor Freight, but those may not be precision enough for flattening? Probably a conversation for another thread, but how do you blue your metal?
  5. miniature milling machine

    I was wondering if anyone owns a miniature milling machine for flattening planes and things. If so, what kind do you own and do you like it?
  6. kiln dried wood

    Well, if you felt grass clippings that were freshly cut and grass clippings that had been backing in the sun all summer, you'd be able to tell which one had moisture content and which one didn't, with a blind fold on. One is crisp and one is more malleable. I think you can do the same with wood, to some degree. ... Yes, but isn't it all connected? You seal the ends of the wood to prevent air checks, but the reason the air checks form (I believe) is because the wood is drying out unevenly? I think that's the cause of air checks, but I could be mistaken. But then when you seal the ends, the moisture gets stuck within the wood, (kind of like sealing the ends of a straw) and the only way for it to escape is to permeate through the wood cells. That, I would imagine, is a slow process, unless the wood cells are somewhat porous. I'm not sure. Eventually the moisture probably escapes. What I was wondering is if the water escaping through the wood cells makes the cells relax a bit and releases tensions in the wood. Purely speculating here.
  7. kiln dried wood

    Thanks for all your replies! Martin, when you say " But correctly kilned wood has exactly the same properties as air-dried wood as Don says. Mainly it feels different to air-dried wood because it's .... dry. " Do you mean that perhaps air dried wood may still be retaining some of the moisture, whereas, kiln dried wood is totally, totally dry. Like desert dry? I wonder if it's too dry, if that impacts the instrument. The wood I have feels like saltine crackers it's so dry. Other air dried wood that I have, feels dry, but you can tell there's some moisture in there still. Kind of hard to describe I guess. Air dried wood is sealed on the ends with wax while it still has some moisture content within the wood. I'm not exactly sure how the moisture escapes the wood cells, but it must escape eventually by osmosis I presume. I wonder if the water escaping through the wood cells somehow relieves tensions within the wood?
  8. kiln dried wood

    I had used wood from this particular seller before and my teacher suspected that it was kiln dried. The reason was that the ribs were impossible to bend. They always snapped. He couldn't even bend them, and he's an expert. I wonder if this is a characteristic of kiln dried wood? I wonder if the kiln drying somehow impacts the flexibility of the wood.
  9. kiln dried wood

    I purchased some tonewood from a supplier, but it feels very dry to me. Is there a way to tell if wood has been kiln dried? If I can find out that it has been kiln dried, should I still make a violin from it? Does it make a lesser quality instrument?
  10. aehnelt cello bending iron

    Thanks David! Oh, I think you're correct. It's the base, which would not present a problem. I was first imagining that they had coated the iron itself with a lacquer, but apparently not! Thanks again!
  11. aehnelt cello bending iron

    I was wondering if anyone here owns an aehnelt cello bending iron. I had a question about this product. In the description they say: "The heating block is mounted on a sturdy non-flammable metal case with cooling openings which is equipped with a special heat-resistant lacquer coating to reliably prevent a loss of colour onto the wood." http://geigenbauwerkzeuge.de/epages/9c8e05c8-4782-422a-84bb-103b2c2d5425.sf/en_GB/?ObjectPath=/Shops/9c8e05c8-4782-422a-84bb-103b2c2d5425/Products/"G 75375" Does this lacquer eventually peel off? I could imagine having a real mess on my hands, if the lacquer started to chip off and get stuck into damp cello ribs. Has this happened to anyone?
  12. Interesting violin on my bench

    I don't know about that arching. Looks a little steep.
  13. hide glue book

    Very interesting. I am continually and incessantly plagued by the pursuit of locating an adequate hide glue.
  14. laid paper (old fashion) for labels.

    Yes, that would be great! Thanks so much. I will email him and ask him if he would be willing to ship to the US. This website has a good side-to-side photo of laid vs wove paper. https://cycleback.wordpress.com/2013/02/10/identifying-and-dating-paper/ What I was wondering is if the composition of linen/flax is more stiff than cotton, and therefore perhaps the lines in the paper are not as readily noticeable.
  15. laid paper (old fashion) for labels.

    I did a little bit of research into this topic, and Venice was heavily importing cotton in the 1600s. They at least had access to cotton at that time period. I also read that cotton paper was produced on the Iberian peninsula around 1100. I think it was referred to as Carta Bombycina. If you look at an original Stradivari label, you can clearly see lines in the label: https://tarisio.com/cozio-archive/cozio-carteggio/alexi-kenney-joachim-ma-strad/ I think those lines are more prominent in cotton paper than linen paper. Am I wrong about that? The photography from the French Mill is not that great, but I do not see lines in that paper. Is it more of a cross-hatch?