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Everything posted by M_A_T_T

  1. quote: Originally posted by: ctviolin Have you considered just letting the solvent evaporate out until the varnish thickens up, or are you looking for a thin oil varnish? Thanks, that worked perfectly. Looks like one week with the lid off turns it into honey.
  2. quote: Originally posted by: Andres Sender I wouldn't use a lathe, you want to make the handle fit your hand and how it's used, so there needs to be a feeling for direction. You can turn ovals on a lathe, once you have a round piece just offset the center on each side of the original center while turning each half. That would give you a basic start to a hammer shaped handle.
  3. I went ahead and ordered one and was correct. TOTAL height is 10", only 9 1/2" to top ledge. I have already cut off and planed the edge of the lip and am staining it to match the rest of the chest.
  4. I went to the local Opus Art store today and got Gamblin Indian Yellow, Alizarin Crimson and Asphaltum. Glamblin nor Windsor & Newton didn't have any of the other colors I was looking for. Quick tests show too much Alizarin Crimson gets PINK. I'll experimant more in the near future as I am making some more varnish to color. I am also wondering how much and when others color their varnish if using artist oil paints?
  5. Thanks for the replies. I will probably check out the art store today.
  6. Looking through Windsor & Newtons color chart, the transpaprent colors that are 'violin-ish' and I've sometimes seen mentioned here are: Alizarin Crimson Burnt Sienna Burnt Umber Transparent Maroon Are these good choices to try?
  7. Lee Valley also has a carving vise, but I don't know if it would work. http://www.leevalley.com/wood/...=1&p=31172&cat=1,41659
  8. quote: Originally posted by: Mat Roop but I suspect it is coming as they now have the 3 versions in their digital vernier calipers. I have that on order, too cool. Mat, that is very clever to use the standard base those are designed for, and I really like the idea of the bearing. I have a polished caridge bolt head mine plate runs on, but the bearing idea is great.
  9. quote: Originally posted by: cliff_green Nice looking mould. I used a three piece mould (ala Strobel) that only supported the ribs at the edges for my first cellos and had some inward cupping above and below the C bouts. I haven't had that problem since I started using a central mould like yours. I think Strobel even mentions that can happen in one of his books, and recommend to wait until the ribs are totally dry before gluing both ends. A single layer mold is what I would do though, simpler, nicer looking.
  10. quote: Originally posted by: Seth_Leigh If you mean, a web page format like you have used in the links at the bottom of your posts, no I haven't set one up yet. I should though, and probably will. I'd be very interested to watch your process. I could even help you with the formatting a little if you use a similar program.
  11. This looks like fun. You make me want to make a cello next. Hey, are you doing a journal/progress report like you said you were thinking of doing?
  12. quote: Anyhow, I thinned down considerably some of this 2lb cut shellac in another jar, and using a much thinner artists' paintbrush I applied a genuinely thin and dilute coat of blond shellac to reseal the wood surface. You want to go REAL thin for a first sealing with shellac, I've done 1/2lb cuts for that with orange shellac, brings out the grain as well. The back looks okay, way too much on the front, though. That's quite a good color for only two coats and a glaze in between. Is that the Milano Strad pattern?
  13. quote: Originally posted by: C.B.Fiddler Thanks Darren, That looks very nice. Leroy pointed out to me that a bench type can be very useful due to it leaving a free hand for making notes and such. Did you use the 1" or 1/2" digital gauge for yours? Thanks! Chris It's the 1" kind he is using, I use the same on mine. I originally made a wooden one just like Darrens but work in a metal shop so I was able to make a large and extremely sturdy steel frame. I think if you are interested in the bench top kind instead of the handheld kind make your own. Even made out of hard wo
  14. I made my own out of a sturdy welded steel frame with a digital metric/imperial dial. It sits on my bench and I move the plate around to read it.
  15. I would think it's a good sign.
  16. These workshops sound amazing. Are there plan to have a segment on varnish?
  17. quote: Originally posted by: Darren Molnar Cool clamps, did you make enough for everyone? Just me, then? Thanks. What I made is what's in the picture. Here's a thread where I talk about making them if you are interested in better pics and dimensions. http://www.maestronet.com/foru...atid=4&threadid=274913
  18. quote: Originally posted by: Darren Molnar Matt, are you using pins? that helps stabilize things[and line them up] when your gluing ribs off the mould.Are your linings glued to both sides also before you remove the ribs? Yes, I use pins and I add the linings to both sides while the mold is still in place. I like to remove the mold because it seems like it would be easier to do the inside work (final shaping of blocks & linings) with the rib garland totally free. I made a garland support to hold the ribs in position. I dry clamped the garland along the bouts, moved the
  19. quote: Originally posted by: fiddlecollector Out of curiosity what do makers violins on here weigh without fittings or with. My second violin weighs 389g. My first was much heavier at 472g. I'm weighing the plates of my third. I'd like to get it light, not that I think it will improve the tone but because I've read players prefer lighter instruments.
  20. quote: Originally posted by: COB3 it sounds as if you have removed the mold--have you? Yes.
  21. It just seems so flexible. I have used a board to stabilize the body while first gluing the back on. I see alot of (pretty much all) bodies glued up without any stabilizing, but is there any worry of it twisting/warping?
  22. quote: Originally posted by: matthew tucker So I'm wondering ... what would YOU have done? Been glad I didn't drop them either! That's very cool. I think the most exspensive/fine violin I have ever held was supposedly an old French piece, and only worth about $2000. You are lucky. Seriously, I'd probably examine the f-holes, purfling, scroll, and any interior I could see.
  23. quote: Originally posted by: Brad_Dorsey I clamp the bar in place dry and glue three or four cleats along the side of the bar towards the center joint of the top. That's a good tip.
  24. I'm a fan of texture too. Very nice violin.