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  1. I tried to read the certificate but couldn't make out everything on my phone. So...I guess you're saying there was more than one cow in Italy whose hide would make suitable violin case material. Musafia didn't attribute this to the Stradivari shop? Whoops. But it is nearly 300 years old though? Still cool. There can't have been that many violin case manufacturing shops at that time. Anyone who made this would be a recognzable name today. Right? Or no. I'd like to know more about this.
  2. This is a total wow. Actually, for once, something on eBay that really is NICE and Rare. I wanted you all to have a heads up on this. You know, just in case you have an extra humidified glass case with bars and an alarm, but nothing to put in it. Did you all see this and aren't talking about it for some reason? Tartini's double violin case out of the Stradivari shop?!
  3. Ha, I started that thread. It was definitely a good one.
  4. My stupidity in buying the Guarneri volume from a fake Scamazon seller yesterday underscores why I don't like that venue for specialty items. At least they have a more than decent return policy. The book is definitely worth the extra money, I'd rather buy from Julian anyway, and I should have kept off of there. So mad at myself for being such an easy mark.
  5. I actually probably do want the USSR book, but can't have both now. Still bidding $300 on the Primrose book. I would buy the USSR one if I can have more time to produce the green, just saying...
  6. The green might be more brownish because I'll have to pull it out of my a$$. But these books don't go up for sale that much, so. Who's retiring in Dallas? A secret person? I don't mind a public auction, not that specialty stuff like this should ever see the virtual auction block of feeBay, for many reasons, imo, but I like the pm idea for when the bidding gets tough.
  7. Why are we bidding publicly? $300 (No more bids from me until 4:59 pm cst on Friday.)
  8. Yes. No one else corroborated this in the thread, I see, but I know it works. Printer paper? Same idea. It's one trick for polishing ebony to a hot glasslike finish without oil (or with the one drop aforementioned on a much larger SA like a fingerboard)...I know this is done a lot. I probably shouldn't mention stuff like this for reasons, secret secrets, but whatever. It's not a big secret. And it won't hurt anything to try this especially on your fingerboard. Or on your bow. The paper gets hot, so maybe put a little piece of leather under your finger or something if you want to. Hope this helps.
  9. Typing paper. Seriously! Sometimes a drop of mineral oil for an amount of ebony on maybe a violin fingerboard, but no more. Because "a drop of oil" might mean different amounts to different people, maybe not even that. Try the bit of typing paper though. Rub til it gets warm. Definitely a good thing to do on a fingerboard too
  10. Will Logan and I used to talk and write about this. He shared many personal stories of his experiences as a student of Dorothy DeLay and others, and as a dealer and connoisseur of rare violins, as so many on here have, and probably he never did write down everything somewhere else. I told him he should but he had a big house and a wife to take care of. I've still got his PMs, which at least were automatically backed up into gmail, but they're just sitting there. Maestronet used to go down for a couple of days at a time. That doesn't happen these days, but you still have to wonder what happens to all of this if that happens again, permanently. I miss him. He's just one example of someone who kept a pretty low profile about his actual knowledge and experience, but so many could benefit from his ideas. I hope Maestronet doesn't go away too. It's a valuable library for the violin world.
  11. Oh! There's the 8. That's doable, but I wouldn't have come up with that from the article alone. Obviously I need your book. Thanks.
  12. Jusr what the title says...there are several marvelous photos I would like to upload, but cannot due to whatever error comes up as "200"... tried to get it to work with internal photo storage on phone, and also google photo. As far as I know all of my programs are updated. ???
  13. Ha, exactly. Looks nice. I haven't done the process enough to plan exactly how much the colophony gets reduced. It was a very significant reduction but I'm not sure it could have been 80% reduction. I can only comment that it is amazing how great this varnish is that is made with a very long cooking time. It's a bit soft on its own, but siccatives have always been used and the OW siccative product is very nice. It's easier with more than one person, for sure, I definitely don't want to be alone with my thoughts stirring a pot for that long. I had some beautiful, really primo dark colophony from Fred N. I don't know where he got it. The rosin cooking time (well over 100 hours) stretched limits of dread and terror all around, because each passing hour is a possible moment that must be repeated with other ingredients, but the result of this is actually a classically pleasing varnish. Actually, a half gallon of magic. We had backup colophony to make me feel better, especially getting into the varnish making steps with the cooked rosin, but nothing was wasted. I find it kind of wild how easy it is. Takes awhile is all. Eventually the process might become fun and relaxing. I must have undiagnosed anxiety, undiagnosed lots of things. It wasn't fun and relaxing. Anyway, it's a process. I just wanted to say that if one reads the directions 1000 times, intentionally and absolutely following what Roger says to do, you'll probably make a beautiful and easy to control varnish. I say "you" meaning anyone can, even someone like myself.
  14. How long do you all cook your resin? That is the only part of Roger H's directions left open. He is vague about cooking "as long as you can" or something like that. Following these directions leads to a perfect varnish, much darker than Mike M's example. Over 50 hours is pretty good. More is better. Double or triple that. I think that is kind of what Peter is trying to get at here, and also Joe R, at least one of the things. Even if you are following Roger H's directions exactly, which Peter in particular doesn't (but I bet, not because he didn't try long and relatively low heat cooks), there is that one annoying variable. But then, the results are great if you just do what Roger said and are patient enough for the process. If you don't want a ton of trial and error, or a costly research project, if you just want a perfect varnish, do the process. Sunlight/ uv box doesn't seem to change things too much. I tend to believe cooking for color is very possible, look at that delicious red of Peter's varnish (!) ...but you need a color arsenal too (especially if antiquing).