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  1. not telling

    William Fry Internal Scraping Method

    Of course you are right, in my opinion. I never had a strong enough stomach, or bladder, to finish Fry's infamous video but it doesn't take long to see what he thought he was doing. He believed in his method enough for everyone. Well...maybe his tool and method were caca, but who hasn't regraduated instruments to get a better result? Who has? I am surprised that no one admits to leaving key areas a bit thick and shaving the areas down as needed later--as a de facto working method (not as an afterthought years later). But not like Fry, cheap and dirty and all voodoo magick fakery, but actually popping the top and re-setting up etc. Either no one has the patience or no one will admit to a working method that has some amount of uncertainty and subjectivity and slippery slopery built in. Obviously it's not possible to organically add wood back into a too-thin area so would it not make sense to take some precautions especially if the spruce is all weird acting? I'm not one to ask either, because it totally makes sense to me...but not the way Fry did it.
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    Rogue Wave Here is an example of what I think might be the same thing. It's a tiny bit off the flame, and quite knotty. DH believed this effect was caused by the branch growing, like a kind of ripple effect of the outgrowth. I don't know if he is right, but it sounded plausible.
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    Vernice bianca vs plaster ground

    I think the shit stain shows great promise. It's not always brown tinged, either, there is a beautiful rainbow of shit stain to experiment with, possibly contingent on the kidney function of the rabbit or horse watering the poo. I don't understand the nuances and how to control the results, but I've seen non-brown results. The prospect of playing with shit for a few months to figure it out sounds less than enticing...but it is historical, I guess. Maybe not Strad historical but definitely historical. Honestly, even if we knew that tables were shit stained because they're still here after 600 years, it's proof to me that the poo confers some sort of protection. Better that than using some chemical that hasn't been around 50 years yet. Jmo, obviously. And what do you mean, different? Writing style?? Different person? No. If there has been a difference, it's just that I don't want to belch empty calories all over the forum. I take criticism seriously no matter where it comes from. But I'm still me, as long-winded as ever and probably not saying anything at all. I like varnish and ground topics though, because I at least read a few books and made some concoctions and have a little more understanding of these processes, enough to appreciate everyone's different approaches. And still I know next to nothing. I never thought otherwise. I know just enough to resuerrect this topic so I can try to learn something!
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    Vernice bianca vs plaster ground

    Mike M, having seen what this combination does visually, do you think you will diy that horseshit concoction and keep using PoP?
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    Vernice bianca vs plaster ground

    They are supposed to do the same thing... strengthen the wood, increase potential refraction and beauty of the maple. One is a protein and sugar based sealer and one is a mineral wood pore filler. I am surprised that nothing about this topic was interesting to people back when you posted it, and it garnered a mere 17 views. But luckily it's a highly searchable topic. Pore fillers can contain silica, or not. Grounds can contain color, or not. Some sealers are protein-based and some aren't. Some grounds are hygroscopic and some aren't. Vernice Bianca is a pain because you have to make it right whenever you need it, whereas hydrated and dried plaster can be stored for awhile. Plaster has several ways of ruining the wood if you aren't especially careful of sealing the endgrain, or you miss/rush a prep step, but the sugar coating is pretty straightforward to apply. I am not even close to touching on the main differences. They're not that much alike in how they work. I guess I see why this topic didn't hit the ground running so to speak. But previous threads on variations of vernice bianca go on for days about nano particles of sugar and whatever... I don't understand. If you're still curious that could be a good search term. Nano particles. Or read Sacconi. Sacconi thought Vernice Bianca was "the" ground. Opinions vary.
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    Best contemporary luthiers

    That's generous. I posted a comment, nothing more. But I would like to add something...the very best makers are willing to help others and they often do serious research out of passion for the craft, intellectual curiosity, and a desire to share important knowledge. Because, sure as $#;+, publishing doesn't pay out cash money. Roger told me what posters in The Strad pay. The hours and hours of work...the expertise required to provide something accurate...everyone in the field who needs and depends on the accuracy of these's all not even worth $300. I didn't want to believe it, but it makes sense too. And even you make my list, Burgess, of course, not that my opinion matters. I am cooking colophony this week and I didn't forget how important the sand bath is, because you said it. Years ago you said it, and you continue to say it for the benefit of the constant stream of the Great Unwashed that find these forums and don't have a clue how much there is to know. You guys could let the little people struggle and reach and agonize for answers you all found in the '80's and '90's, but mostly you're a nice bunch, and you do the next generations a solid. But do we all listen? Course not. *$#@*&+ kids. That's one reason Roger left Maestronet, and probably why you don't see much of Melvin Goldsmith and some others. To be clear on that previous point, I don't mean that publishing makes a luthier great, because we can all see that it's easy to publish wrong information or no information at all. Great luthiers often share their knowledge, though, as Davide Sora does when he posts videos of his process, and we should all make sure that those people feel appreciated here. I hope this opinion is not unpleasant or traumatic for anyone.
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    Best contemporary luthiers

    How did this tripe get four pages and thousands of views? How bored are you people?
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    'Graduation day ' in Strad, July issue

    I did that before too. I am very guilty of the belief that I work best under pressure, and it's easy to miss something. It may be the editors don't always look, or they can't recognize certain types of errors. Once I had an interview with an author who was dying of ALS and I felt like the editing job was pretty insensitive...and even in that case most of the interview as I submitted it was intact. But small(ish) editing misunderstandings are different from the idea that editors sit around, perhaps double fisting red pens and cackling as they remove all useful and incisive content. Which, you know? Maybe they do in some cases. I never wrote for The Strad before to find out what can happen, and I mostly don't read it anymore either. But you and nearly everyone else say it is not a bad experience. So I am glad to hear that.
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    Making boiled linseed oil for use in varnish making

    There's also the fact that Roger Hargrave has amazing results with his thrice-washed not-boiled/preheated oil and low/slow resin product with the bit of mastic. I'm a fan of simple procedures because...well, it's obvious why. But you are right, this canid can be carved a dozen dozen ways. BLO is a serious volatile too, with some actual fire risk. I figure I'm saying nothing new for 99% of you, but BLO is certainly a different product than washed LO or stand oil--so be careful where you put BLO drenched rags or anything that's touched it. Jackson Maberry, did you ever try with just washed oil? What is the advantage of using BLO for varnish, other than the siccative quality? Some would view the loss of working time as a negative, honestly, that's how my husband looks at it, but I can see how a quick tack time would be desirable.
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    Best Tape or covering for ribs?

    Roger couldn't get the small white splotches out of the fold of his bass back with his skills, and that is one assiduous guy, so you know it could certainly happen to anyone. Of course it is not necessarily a problem. I overstated how dire the situation is, but if one doesn't want to be forced into antiquing when the quick addition of more plaster or varnish doesn't work, or the commission is for straight varnish, there could be a decision to make. Hence the tape, and simply being patient and careful and probably saying a prayer too if you believe that will help. I am glad that you lucked out, Conor. Through wit and skill, obviously. It is only when things go wrong that luck has anything to do with it! Did the tea always work fine over plaster in your samples? It sounds like you have a really careful process in general so I am guessing yes.
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    Making boiled linseed oil for use in varnish making

    Right, but also Vernici Liuteria makes commercial varnish and he (?) suggested 100c isn't the way to cook the oil. I believe Peter K-G is correct too, but I am curious what other people do especially if they have fine results.
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    Making boiled linseed oil for use in varnish making

    But at this higher temperature, wouldn't you get something more like stand oil? It can get so frustrating to wade through the information. All I want is to know how to make the oil siccative. Vernici Liuteria, what is the difference between boiled and stand oil? Time?
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    Ground experiment test strips

    Pretty scroll. Wow.
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    Factory instruments reworked, sold as new artist instruments

    For some customers we have snapped work-in-progress photos. It's a possible slippery slope to offer that service but for the most part it's easy to show the customer what they're getting. Simple is good.
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    Best Tape or covering for ribs?

    Thanks. Although you won't see this, I appreciate it.