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Everything posted by M_A_T_T

  1. The main thing with this type of joint is the quality of the joining surfaces. They need to basically be PERFECT because once you carve and graduate your plates you have a 2.3 - 4.5mm cross section of wood glued together. I don't glue size rubbed joints, but I do like to get both surfaces nice and warm with the low setting on my heat gun (I found a hair dryer not to be sufficient) and paint the glue on one surface only. I also rub the top piece back and forth (probably where the name comes from) to squeeze out excess glue and get that 'suction' effect going. I'd say around 2/3 of the ru
  2. quote: Originally posted by: violintipsy quote: Originally posted by: M_A_T_T IMO, make sure you are cutting with the grain, and use a very sharp blade. thats a really good guide ...was that made by you or is it just a refrence site you use As someone with lots of woodworking background it's common sense. You have to go in multiple directions when cutting the f-holes, especially if you want to cut the eyes with a knife. I recall seeing a diagram, possibly posted here, that had arrows for the cutting directions. Here's one I just made up from a picture of an f-hole I ha
  3. IMO, make sure you are cutting with the grain, and use a very sharp blade.
  4. quote: Originally posted by: Victor_Zak What's to prevent someone from locating the chip in the instrument and removing it or replacing it with another? I imagine that though it can be well concealed, it could eventually be found if the person knows its there and it's an important instrument. Another concern I'd have is what sort of damage will be inflicted on the instrument while the perp. tries to find and remove it. I think the idea behind these chips is the thief doesn't know they are present. Plus, your average thief isn't going to know how to disassemble a violin and loca
  5. quote: Originally posted by: Tets Kimura I hear that with the best Japanese scissors, you only have to lay a piece of paper on a blade, and the paper is cut just by its own weight. Imagine using those to cut your hair. I've never seen the entire movie, but I remember a scene from "The Body Guard" with Kevin Costner & Whitney Houston where she has a Samuri sword and Costner takes a silk scarf off Housten's neck and drops it onto the blade...the scarf then falls to the ground in two pieces, cut by it's own weight. Don't know if that's possible but as someone who sharpens and uses
  6. These have been around for a few years, but I think it was only recently they were made available to the public. Some big manufactures are given the chips for free and stick them in their instruments during construction (I think guitar making companies mainly). I have been thinking about buying a dozen for my vintage guitar collection (my other hobby) but then thought about sticking one in my latest violin (and the rest) during construction. They are a rice grain sized micro chip with a permanent serial # that can be read by a device for positive ID. Read more here. They can be purcha
  7. Nice. If I still had my lathe I would have done that. I sold it awhile ago but still had some of the turning tools lying around, so I popped the handle off one and stuck it on my #7. Recently I added some padding and leather to the end, and affixed it with thread.
  8. I use granular from here.
  9. quote: Originally posted by: raspritz A homeowner's policy rider is by far the easiest and cheapest way to go, unless you play professionally. I do have valuable instruments, and that is how I insure them. That's how I insure all my intruments, which is counting around fifty by now, and it's only $30 a month.
  10. I won it on ebay for a decent price. I thought it seemed neat because I have a first edition of the Heron-Allen book, and this may be around the same age. It seems to have an anonymous author which is interesting. The Violin. How To Make It.
  11. quote: Originally posted by: Andres SenderIsn't it kind of sad how we have to go rummaging around finding things to make-do with because the 'specialist tools' offered for sale are either too expensive and/or don't do the job? That can be fun, though. I found one similar to the one pictured, which I think is Michael's, on ebay for about $20 new. Works amazingly. Here's my glue pot. Nice and small, doesn't take up too much bench space: And my glue cup/brush/thermometer holder sits inside:
  12. quote: Originally posted by: NewNewbie The show looks like it will repeat on Friday August 17th, for those interested in seeing it on television . That segment has also been posted on Youtube. I think the narration is in Asian, however.
  13. quote: Originally posted by: Seth_Leigh Carl: it's not that important, but the "let's make some mastic varnish" thread was mine, not Matt's. Yeah, I was trying to recall when I made some Mastic Varnish.
  14. I use an 'antique' style paper from Staples, with the lettering printed on my computer. I hand write the last two digits of the date and sign my name in ink.
  15. I have used thin hide glue too.
  16. Yes, the asphaltum is an artist's color.
  17. Okay, a week later. I have been keeping the piece under a skylight most of the time, but when I got the chance, for a few hours each day I would put it outside in direct sunlight (had sunny weather this week). The varnish is dry to the touch, but I can put a fingerprint in it and gouge it with my nail quite easily, and it's been like this for the last few days. This shouldn't be the case, right?
  18. This surprised me. I always thought the excessivly polished, glossy look came about from lower end poly finished violins from Asia. From my 1884 copy of the Heron-Allen book, page 296: "The fiddle is now finished and varnished ; it must be hung up for at least a month, if not two or three, to dry thoroughly before fitting it up. Personally, I prefer the rich, creamy appearance of the varnish in its present state to the unnatural mirror-like polish which is generally seen on a new fiddle, but if this is desired the varnish must be allowed to dry thoroughly, and after some months carefully
  19. quote: Originally posted by: izzy Speaking of schools.Where did Amati, Stradivari, and Guarneri go to school? Did Strad train with one of the Amati's?
  20. quote: Originally posted by: Darren Molnar 1. A self taught maker will never be successful at his/her craft. Completely 'Self taught' is probably very rare anyways. If a maker never attends a school he at least will employ the use of numerous books and the wealth of information the internet (ie: Maestronet) has to offer, making him at least 'book taught' or 'internet taught'. I agree a school would be the best place but not everyone has the $20,000+ dollars to go to one.
  21. quote: Originally posted by: Andres Sender You won't know how you're doing for transparency until you have the full darkness you want. I know. I will be putting more coats on.
  22. quote: Originally posted by: Dan Keller How do you make the glue weaker for the use of gluing the plates on? Do you increase the % of water? If so what is the ratio? - Dan Yes, more water. How much, I don't know for sure, as I am still experimenting. I've heard you want the glue for the top (the back is glued on with stronger glue because most of the time it is the top that you remove) to be like water almost, but don't take that as fact yet.
  23. quote: Originally posted by: Janito Does the varnish remain tacky after days in light, hours in a UV box? Does solvent alone leave a residue after evaporation? I don't have a UV box, I am using daylight through a window. I'll let you know. I'll also put some solvent in a glass jar and see what is left when it evaporates.
  24. quote: Originally posted by: Janito 3 questions: - Does the orange terpene affect the rate of 'drying'? -Is there any residue that you can see in a clear glass container if you allow the solvent to evaporate completely? - In a section with multiple coats that is dry, can you indent easily with a nail or does it crackle off? Thanks 1) I do not know, not enough experience with it. What should I look for? 2) You mean just solvent alone? 3) I'll report back when I have applied more coats. Which is more desirable, crackling off?
  25. Been doing some varnish testing with oil varnish. Here is a piece of rib stock. It has two coats of 1/2lb cut orange shellac, and only ONE freshly applied coat of my test oil varnish for now. Do you think with subsequent coats it will turn intro a desirable color? Here is the varnsih recipe I used: 10ml of Damar Resin crushed into powder 15ml of #915 Eco-House Orange Terpene Solvent 2-parts Asphaltum 1-part Alizarin Crimson 2-parts Indian Yellow 10ml Walnut Alkyd Medium. This comes out extremely watery and leaving the lid off for a week to let the solvent evaporate thickened