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Alessandro Peiretti

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  1. Yes, I see. Has anyone else bought these lamps or tested their operation? I have fallen out of love with spruce primers, I think it is better to limit yourself to tanning (sun or lamps) and I am testing ways to make it more intense: for example with a coat of albumin (and probably also with other sealers ) the tan accelerates a lot.
  2. Hi Don, you have probably already explained it somewhere else, if not, could you tell me what kind of equipment is needed for a heat treatment similar to yours? Thanks.
  3. Very interesting! Do you have any photos that allow us to evaluate their effectiveness? I wonder what results can be achieved if the exposure with these lamps lasts for 4/6 weeks ...
  4. I'm referring exlusively to oil varnish and in my experience, the only natural red dye soluble in oil, is alkanna root.
  5. They are two different things. With pernanbuco you can make a lake, using metal salts for fixing the color, similarly to madder. Cinnabar, on the other hand, is a decidedly more opaque earth, to be used much more sparingly.
  6. I quote a passage from "Stradivari varnish" (Brandmair / Greiner): "Because the quantity of the vermilion found was so low, and because our practical experience with the pigment, we believe that Stradivari's primary reason for using it was not colouration. It is far more likely that he used vermilion because of its brightening properties, comparable to a metallic paint finish on cars".
  7. I agree. To be the devil's advocate, I could say that the fineness of grinding, the quantity of the material used, the refractive index of the vehicle and the sinking into the wood, can make certain stuff "tolerable". For example, very opaque cinnabar was occasionally used by Strad in his varnish in small quantities.
  8. I'll follow your suggestion Davide, you never know ... But if we think about this "shopping list" for a moment, we immediately realize that all the elements it contains have been cited at least once by the various researchers under the microscope. Quartz = silica, amber = amber, gypsum and coral = calcium, ruby ad sapphire = alumina. And then, didn't Beato Angelico use the very expensive lapis lazuli for his blue?
  9. Sound quality is a subjective parameter, however if the concoction generates a lowering in frequency, a lowering of speed of sound and an increase in damping, maybe the way is not the right one ... Nonetheless, they are rarely made comparative tests between two identical samples, so the choice of preparation for the next instrument is often a matter of faith.
  10. Andreas, thanks for the articulate answer. By studying violin making, I tend to separate the philological approach from the analysis of ways that can allow me to make progress, regardless of their historical verisimilitude. For example, I would never exclude the possibility of using a mineral ground even if a definitive study should appear that demonstrates its absence in classical instruments, beyond any reasonable doubt. My question arose from the fact that there was a lot of debate on the use of borax on bare wood but little or perhaps nothing in a fruit gum-based solution. The cross-linking effect seemed to me worthy of a final reflection before finally closing the chapter.
  11. Years ago I bought a Royal Talens bottle of it. Anyway, I agree with your observations
  12. It is very likely that there is nothing more to add to the topic, however I have one last question. Has anyone here tested the following Nagyvary formulation: fruit gum, some borax, ox bile as an emulsifier and mineral powder? Here is the step: He heads into a lab at the far end of the bungalow and picks up a beaker filled with a solution of gum from the guar plant. He adds a bit of borax, "commonly used as an insecticide," he says, "but in this mixture it acts as a cross-linker, weaving the chains of sugar molecules into a sort of web." Suddenly, the liquid solidifies into a gelatinous mass. Nagyvary takes it into his hands and begins pulling it like taffy. "We need an emulsifier, of course, to make it fluid enough to work into the wood. I like to use ox bile myself." He also adds plenty of other ingredients, including quartz, amber, gypsum, coral, zinc, and powdered ruby and sapphire. By the time he's ready to apply the mixture to the instruments he makes, it has the consistency of mayonnaise.
  13. This is more or less my experience. _ Start with violin. _ Buy wonderful wood for your first violin, this will force you to have an healthy respect for it and each experiment will be carried out ONLY on pieces of scrap. _ Give your best already in your first instrument, and take your time: not less than 1 year. _ DRAW each part of your violin with PENCIL (model, scroll, archings). It's very important: your personality must come out! _ Keep a notebook. _ Imagine its sound. _ Be patient. ...and good luck!
  14. On Biddulph's book, Cannone, Vieuxtemps and Leduc are reported as the most impressive violins, on a tonal point of view. It's a curious fact : the first two, very heavy and stiff, low arch violins, the last one, lighter, higher archings, much more flexible (except a stiffer cc- bout curve compared the other two).
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