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Everything posted by jowl

  1. The line drawings do not correspond to the photos on the poster.
  2. Does anyone have a template for the 1741 Vieuxtemps del Gesu scroll? Would save me a bit of time if you are willing to share! I have the Strad poster, but as usual the line drawings are not to scale.
  3. have a look at Davide Sora's video
  4. I have used clear methylated spirit from Smith and Roger with Joe Robson's system (for initial wood preparation and diluting the balsom ground preparation #2) with no problems.
  5. have a look at Sora's video: https://www.youtube.com/playlist?list=PLaxadm6POX7Hy2CxMIMU5wcOOBxxNsq5r
  6. @JerryP & @RogerH What I don't understand is, after spending time getting your post to fit exactly at one spot, at the right tension, you then start shifting it hither and thither to adjust the sound. Once you shift it from the spot where it fits exactly, it doesn't any more. So what is an acceptable shift?
  7. I've been off line for a bit, but thank you to all who have commented. @martin swan yes the frog does have pearl eyes
  8. Any knowledgeable person out there who knows what this engraving means on my Tubbs bow?
  9. Interestingly enough I have found that the oxidised BG3 is soluble in alcohol. Should I use it with alcohol?
  10. You are a gentleman. I will message you.
  11. OK so my Diamond G has arrived and I have used it with BG3. I think it is better than the turpentine that I have been using but it by no means dissolves all the BG3 in a 3:1 dilution. I am not sure whether I should expect it to, and would appreciate some feedback from Joe. I have done another coat, and am happy with the colour.
  12. Very nice! However I don't believe the wood is sealed until the application of balsam ground varnish (for the uninitiated Joe's ground system consists of BG 1-4 and then BG varnish.) Joe's website recommends applying aged wood dark brown (wood colour) after BG3. I will post a picture after I do mine. Joe's ground sets out to reproduce Cremonese ground's colour (pale gold) and amazing reflectivity, so is not intended to be as dark as your ground. Perhaps Joe can comment?
  13. Here's what the fiddle looks like after two coats of the BG3 with bad turps
  14. Thanks everyone. I bought the "genuine turpentine" in 2014 when I could not find a supplier here but obviously I can buy it here now. Have made an order.
  15. That's really useful Mike. Thank you.
  16. Thanks guys. I can't get Diamond brand in the UK. I use what is labelled as "genuine turpentine" here from a wood finishing supplier. If you let me know what is special with Diamond turps I can try and get a substitute here.
  17. This picture shows Joe's balsam ground preparation 3 after 3:1 dilution with turpentine. After a while the balsam seems to precipitate out. Has anyone encountered this problem?
  18. jowl

    slippery glue

    I understand. Thank you so much.
  19. jowl

    slippery glue

    08:58 GMT Good morning everyone and thank you for your continued contribution to the topic . Maestri Burgess and Sora's comments reflect closely on my own when I was trying to figure out what to do, except I could not work out how to place the clamps on the perfect axis because the gluing surfaces are sloped. In my thinking, for the top and bottom blocks, there is a natural tendency for the rib and cramping block to slip away from the midline due to the sideways vector of the downward clamping force. Eventually I used a clamp to bring the cramping blocks and ribs together (picture). For the corner blocks, as Mr Burgess has stated, one can bias the clamping direction in the direction one wants the rib to be pulled.
  20. jowl

    slippery glue

    Sorry had bold on by mistake
  21. jowl

    slippery glue

    Thank you all for your helpful suggestions. I adjust the glue to a gel time of around 60 seconds, at a temperature of about 70 celcius. Should l aim for a longer gel time?
  22. jowl

    slippery glue

    l was gluing ribs to blocks and encountered a problem with glue slippage. The dry clamping run was perfect but after application of glue the rib slipped as the clamp was tightened and ended up in a less than ideal position. Has anyone got any clever tricks to stop this happening? Same goes for fingerboards.
  23. Have a look at http://www.hammerl.com/english/oellack.php
  24. So this morning I planed a blank for the nut entirely without problems with beautiful perfectly smooth faces. I then decided to plane a blank also for the saddle (with the same plane but a different piece of ebony) and just could not do it at all. Whichever direction I planed there seemed to be a bit which was against the grain. Eventually I resorted to sanding the surfaces smooth. What is the reason for this and is there a solution?
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