Michael_Molnar

In a recent New York Times article, there is dendrology evidence tying the Strad harp soundboard to an Amati cello. Conclusions vary.

I did recognize it as BigLeaf. Chemical mine leaching does something like this but it is usually colored and this isn’t. Perhaps this is a mineral buildup.

Reminds me of chemical staining from mine runoff.

Ipe is used to make pegs and accessories. Maybe Dov Music still sells them.

Good points, but can we quantify “liveliness”?

And for those reasons I evaluate c and ρ separately.

What about just c, the speed of sound?

How’s a “traveling “ violin different from a violin?

Could you explain a little more about how you recorded these and especially how you held the plates? Thanks.

Attention history enthusiasts: I found tucked in my Michelman book a letter from Michelman to the owner of my copy. If you are interested in history about his company: Michelman Chemicals, Inc. 6316 Wiehe Rd. Cincinnati, Ohio You can see his building on Google Maps Street View.

There is a lot to be said for intuitive judgement based on experience. The human brain seems to focus on solutions.

My takeaway from this paper is that the oil must crosslink with the colophony. A long cook is needed. Haste makes waste.

The old masters brewed their beer in wood kegs, IIRC.

So what physical property differentiates (distinguishes) wood? Is it velocity dispersion?

This is what takes me to do the entire bass bar, start to finish.

Jim, Nice varnish. Thanks.

This needs clarification. I experimented bubbling pure oxygen through liquid colophony at 250 C. The result for me was a high yield of dark red colophony. No ashes. However, no else should try this. It is very dangerous because it can produce explosive and toxic peroxides I no longer do this. I have tried blowing a fan across a pot of cooking colophony. It promotes evaporation of the colophony decreasing the yield. Then, the small puddle will burn, which is what you may have seen. So, the magic trick is to promote oxidation while limiting evaporation.

David, Wouldn’t a fossilized resin be a case in point for Robson?

I want to add a point about my own misconception. I forgot that Maberry’s process differs from Michelman’s. Could someone give me a link to the Scroll article? I’m too exhausted to look for my copy.

Jim, Please give helpful details such as oil:rosin, additives, pigments.

It’s a day’s chore for me, but I don’t run a business and have the luxury of not working by the clock.

This is the way to do a controlled experiment.

I agree not to start with expensive, top grade wood. Show what you have and get feedback from accomplished makers who are open to giving advice.Try to attend VSA meetings and bring along a sample of your work.

Right. I was not thinking about touch up issues. I don’t do repairs. Good luck.

So which brushes do you use? l agree that viscosity dictates the brush, so does surface tension (“wettability”). My all around favorite is Da Vinci Impasto 7105 #24.