Matej_Kliman

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About Matej_Kliman

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  1. Zdravím,

    četl jsem zde Vaše příspěvky a potřeboval bych se zeptat na několik věcí ohledně laku. Nemohu však zaslat zprávu v rámci profilů zde na Maestronetu, tak to zkouším tímto způsobem. Pokud můžete, ozvěte se prosím na vojtech.blahout@gmail.com.

    Děkuji, vb

  2. The Austrian maker Thomas M. Gerbeth has a very nice tutorial on bow making. Unfortunately, its only in German: http://www.gerbeth.at/Herstellung.htm He also published a few articles which are available (again only in German) on his site: http://www.gerbeth.at/Fachartikel.htm
  3. Tim, the machine has a very special charm, I like it very much, congratulations. Are my eyes cheated or is the surface of the bender quite uneven? I think this could be a great disadvantage. In my opinion it is essential that the wood adheres tightly to the metal by all of its surface, otherwise different parts of wood are heated differently and you can get brown-burnt spots or cracks. With a friend we also built our own bender in a slightly different way, and still do not have the surface perfect, but as we smoothen it, we get better results. Matej
  4. Matej_Kliman

    CTviolin

    Craig, you are my favourite Maestroneter, I wish you get well soon. GMM22, thanks for the info.
  5. Marijan, please let me (us) know, how you succeeded. m.
  6. Marijan, as for the bark on, that is what I heard and it seems to make sense to me, because the worms in bark really do not go to wood sooner that in autumn. At least so it is with the typical worms in my country. But I must admitt, that I did it this way and was delayng the debarking (up to late october), which is much more complicated when the wood is partially dry and as result of this I got some worms into the wood. So It is up to you to decide. Many people I know of who season their own wood water it when the summer gets too warm and dry. I imagine the summers in Slovenia can be pretty warm and dry, therefore I would build the roof only after the first year of seasoning (that is what I do and did anyway and I have no fungi, nor any other humidity problem on my wood (and also not too many cracks)). But I am no expert, surely Bruce - Tonewoods will contribute. Removing parafine no problem in my view. I myself cut the trunk pieces anyway some 10-20 cm or even longer than I need. And I saw off the waxed part away anyway, also because there are some cracks, dirt, etc, longer pieces alow you to choose a better part on any individual piece. The soaking is of course a possible way but may be difficult with large and heavy pieces, there we use the brush. I think the wax can be saponised by ammonia solution before use to prevent it from meddling with glue. I heard from my father who worked as lumberjack for some time, tha a methon of gluing paper on is used to prevent the wood from cracking, but I have not heard that someone from the tonewood world would use that, I may try it someday, because I imagine it can be extremely efficient. m.
  7. Marijan, I did this last winter with a great Czech lute maker (who uses only his own dried spruce), so if you do not mind I add some of my knowledge and observations. Sorry if what I say is too obvious. When we chose trunks, our first concern was grain, which should be (1) regular (i think it does not matter t hat it is narrow at the edge and wider in the centre if the transition is regular) and the (2) narrow, and I think it is better when the growth rings form circles, because I think trunks with ellipses of different orientation usually have a wavy split (runout up and down along the split). On roughly sawn tree trunks the growth rings are not so easily detectable, therefore it is good to have a srub plane or a gouge on you to be able to cut a groove from the middle to the bark to see the grain in better detail. Then our concerns where knots, which are usually detectable under the bark. Then we tried to avoid trunks with runout, which is apparent when you pull a longer splinter from under the bark. The lower part of the tree usually has more runout (but less knots - so there you have a dilema). Then I was told the wood shall be split to fourths or eights and let dry for one year and only then split to smaller pieces. You shall see after the split how much runout you have and whether you can afford further splitting. Choose the splitting lines perpendicularly on lines and at the places where there are knots in the wood. The first year of the seasoning shall be as slow as possible (to prevent cracking), therefore it is best to keep the wood outside out of reach of the sun, with access of rain (but not too much of course) (in dry periods, the wood shall be watered, on the other hand). Also free air flow is necessary. We use paraffin to seal it to prevent cracks - we melt it in a saucepan and a brush and then use a heat pistol or an iron to speed up the soaking into the wood) (first split-then use wax!). Also it helps prevent the cracks if the bark is left on the trunks till the end of the first summer (but do not forget to remove it, otherwise the worms from the bark will try to hide in your wood from winter). I hope this has been of help. Matej
  8. Omobono, I myself do not find it eccentric at all, and very elegant. It is a standard ornamented viol hollowed scroll. (Viol holowed scrolls symbolize (in my opinion) the lightness of the construction of the viol as opposed to the construction of the violin family instruments). Perhaps it is because my eyes are more used to viol scrolls than violin scrolls. And I am sure people of that time would second me on that, because at that time, viol was the instrument of nobility and elegance. m.
  9. Omobono, I hope I am not too daring to take your chalenge. A 1624 bass viol by Henry Jaye, Cité de la Musique
  10. I think the construction issues depend pretty much from the bulbs you choose. I use extremely strong and dangerous UV bulbs which dry the air in the box very quickly. For me, the biggest issue was humidity. The ventilation I tried to install did not help, so I putt in a babybotle warmer inside it, and it works quite well (evaporating app. a glass of water in 12 hours into the air inside the chamber, which is unventilated). I have a hygrostat installed which turns the bulbs on only once the air in the cabinet reaches the desired humidity (i have it set for some 40-60%). With my bulbs I also have to take ozone production into concern and avoiding the light from penetrating outside the chamber and also the distance of the instrument from the bulbs. Most people here use less strong bulbs, which they say work as well (but maybe these people use oil varnishes with driers (sicatifs), so they use the UV boxes only to enhance the drying). From the tests I made, even though the bubls I used are quite destructive (I burned my skin badly once from just a several seconds exposure to the reflection through the seams in the box), they are not more effective in drying the varnish than the direct sunlight in summer (they are just about the same). It makes me wonder, that I should experiment with the less strong bulbs (for safety and power consumption reasons), for example those used to light the aquariums, or black light bulbs. But since mine work for me so far I have not got to that point yet. Have any of the people here made such a comparison (direct sunlight - their bulbs) with similar results? In that case, please let me know the type of such bulbs. I also use and old clock machine to rotate the instrument slowly in the UV chamber, which in my opininon reduces the number of necessary bulbs. Of course the walls are wallpapered with reflective material (in my case aluminium foil), which is maybe a bit more practical than mirrors. My box is made of cardboard paper on wooden construction with the generators outside the box (insulated from the wooden construction).
  11. If I am not mistaken slab cut wood is used for guitar fingerboards, as it wears of slowlier. I wonder using this kind of grain orientation would make sense also on violin fingerboard? Of course you would loose most of the figure, which would show only at the sides, but I imagine, the surface should be more durable. m.
  12. Let me just say clearly, that I by no means meant seriously that marble could ever become an alternative to wood in violinmaking. m. P.S. I myself do not find these experiments that interesting, it is just that I thought this migh be something new for some of the members and visitors to this forum.
  13. I just finished reading the todays newspaper and I found out about this guy, I hope someone will find it interesting or at least amusing: ">http://www.janrericha.com/marble-violin The violin is a bit heavy (4kg), the newspaper article said the body is 0,5mm! thick (probably only at some places). He also made a guitar (6kg) and a boat, with which he sailed twice across the river Vlatava in Prague. The instruments are said to work. Soloists that are quite well known here (I personaly am not very fond of these two particular soloists - Svecený, Rak) use them on concerts sometimes.
  14. I have seen several viol plans form there and they are quite informative. Since it seems they are all of them made by the same John Pringle, I think, they should be all OK. I recommend ordering them directly form the Ashmolean Museum. A friend of mine ordered some of those from www.cremonabooks.com and he only got a first sheet of two. m.
  15. Since the original question was also where to get parchment: A good source for Parchment is this german manufacture: www.pergament-trommelfell.de . They make a wide variety of parchments of very different properties (colour, transparency, thicknes, flexibility...), using various leathers form various animals. Matej