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About jmssartori

  • Birthday 06/27/1987

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    Brasil Sorocaba - SP

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  1. I thought of keeping the question in this thread just to expand the knowledge developed here. I thought it was more logical.
  2. I still have not found an answer to these questions. Anyone have any idea? Reformulating the issue 1. 1- What can be used as drying element for oil varnish?
  3. Reading this post, I find everything very interesting. Since intrigue to the recipe - it was epic. I was left with some questions and would like the help of experienced members. 1 - What type of dryers can be used and if someone knows how to point their formulation. 2 - Being the walnut oil classified as "non secativo", how does the varnish dry? Is it possible to understand that the varnish that follows the coat (colored varnish) is made with linseed oil or something similar? Thank you very much in advance.
  4. First violin made in 2012 and violin I'm currently making:
  5. Hi, Wota. I'm not an experienced luthier, but I'll give you some hints. You may have solved the problem yourself. What I think could cause this noise: 1 - String of poor quality (or heavily used) and / or excess impregnated rosin. 2 - Poorly adjusted nut "choking" the A string. 3 - Poorly adjusted bridge - at your points of contact 4 - Poorly adjusted post 5 - tailpiece leaning against the chinrest. The best option is to bring your instrument to a closer luthier to give the precise diagnosis. Success in your studies.
  6. Taking advantage of this topic, I wonder if the dammar would have relevant use in this type of varnish. If not, what would be your best use?
  7. That's a good company. Besides responding fast and providing great details
  8. Thank you, Philip. I started in the year 2012 and I am currently on the seventh violin. I've been doing a lot of video watching on the internet. Always paying close attention to every detail. I have some material with referential measures, but, unfortunately, I do not understand anything about the physics and mathematics involved in the construction. So, I focus only on copies and model. This stuff and some models I got with a luthier right here. He was the one who helped me in the beginning with the basics and currently I have not talked much with him. The most advanced things I am researching until today. Out of curiosity and if you want to respond, what country are you from? As soon as I find out the best way to share pictures here in the forum, I'll do it.
  9. Oh sorry. My English sometimes fails. About luthiers who speak Portuguese I did not know any outside my country (even online). I also believe that I would have more success than I have here. Anyway, thank you for your comment.
  10. I'll follow everyone's advice. Overall, I prefer the look of oil varnishes, but as they are quite complicated to make, I have never tried it. However, an elaborate spiriit varnish is beautiful too.
  11. Just as information, in fact and not being rude, I am in Brazil and not in Portugal. I do not know many around here, and the ones I met on the internet are not so detached in sharing. I will provide some photos of the violin that I am currently making and will make them available as possible.
  12. Very good information, thank you all. Briefly, the test and care of not storing for long periods, both shellac and alcohol, will be the best alternatives.
  13. The alcohol issue was interesting. Would there be any practical way of testing it so that precious grams of gum and resin are not wasted?
  14. You're right. I have much bigger problems than this.
  15. Here in Brazil, I have used unflavored gelatine made by Dr. Oetker (in powder and for culinary) and I have obtained excellent results. I hydrate 1 part of gelatin in 3 or 4 parts of filtered water for 20 or 30 minutes. I then heat it in a water bath until it melts completely. If I use the leftovers in a short amount of time, I will put it in the refrigerator and melt again. I do this a maximum of 3 times when gluing does not require extreme adhesion.
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