Michael_Molnar

I don’t recall many significant scientific investigations identifying a linseed oil ground. Correct me please if I’m wrong. I am an advocate of a very lean ground varnish on top of a stained wood. This model fits a number of investigations. A big issue is whether we are looking at the same application technique. I really don’t think there was one Cremonese system. Perhaps there was a basic system using oil varnish and it components. But surely each maker tested new ideas. The best approach is to find a system that you think looks Cremonese. Tell those who disagree to get lost.

I think The Strad should start an Errata list for its posters. As for the kits Darnton mentioned I found a major error in the Messiah kit sold by International Violins. That was about 5 years ago.

Right. The issue of contaminants is important. For starters, we need to see a map laying out the distribution of the protein(s). We also need to identify the protein(s).

Right. Is the protein intentional or incidental? My little experiments with staining the ground introduce a protein unintentionally. Organic colorants often contain proteins. Another possibility is that the protein is used to protect and convey the stain colorant. Proteins are powerful preservatives.

Good luck Joe.

Wrong horse. I meant @Michael Darnton.

Let me share briefly some of my findings for Cremonese cross arches. Most back plate cross arches can be fitted to a CC which is a tangential cosine and sine function. However, fewer top plate cross arches are true CC’s. They are often cosine and sine functions tangential to a connecting straight line of varying length. These can be found on some back plates too. On some Strad’s I found a compound sine (two sines) connecting tangentially to a straight line that runs to the cosine trough which are 4 functions. My take away is that it is a complicated story. Calling these curves CC’s is not an accurate picture. Pardon me if I drop off this thread. I have bigger fish to fry.

Curtate cycloids are a huge family of curves. It’s like saying you can find circles on a violin.

Jeesh. You guys got the answer from the horse’s mouth, @David Burgess that ammonia treatment is detrimental. I do like the evidence presented here. Good job. I bet in a year someone will still advocate ammonia.

Instead of a hard graphite scribe, I had one that held a small hobby drill to cut a shape. The drill kept its height, never wore down. Then I “graduated” to a CNC. Pun.

Fine. It is a higher technological material. However, I hate working with it.

I personally dislike the idea of plastic violin components.

It’s a highly useful site. A problem with the Internet is that it is fluid and impermanent.

“Stabilizing Dichromatic Annatto Colorant” was accepted by the VSA. I have no idea when it will be published by them. I thank the reviewers for their ideas.

The latecomers’ best wishes are deeply appreciated. Thanks. I do miss working at the bench.

I treated wood and stopped. Evidently, the ammonia fumes continue working to degrade the wood in the presence of moisture, namely humidity. I could still smell ammonia in the wood more than a year later.

Thanks

Thanks. I am still battling cancer. I also have some other issues that create pain. I’ll get through it.

Thanks to everyone. This comes at an important time with my health issues.

Amateur workmanship that even I can recognize.

How stable is dragons blood?

“The kicker here is how important setup is in this dynamic,” - @Michael Darnton My mantra, Michael.

Right. The data scatter undermines predictability.

Thanks, Davide.