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Dominik Tomasek

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Everything posted by Dominik Tomasek

  1. Very appealing - thank you for posting again!
  2. Lovely varnish Michael! Did you mix the oil paint right into the Tru-oil or did you apply it any other way? Thanks!
  3. It indeed is. Using beech for the ribs is perfect. It cuts like butter and bending it is beyond easy. The look under varnish is quite appealing too. I do also have very good experience with using quatered beech for small viola backs. The plate generally needs to be a bit thinner than maple back, but it gives the instrument sort of deeper sound as you can even hear in del Gesú's Terminator for example.
  4. Evan, since the first time I have seen the viola I am wondering how it sounds? Thanks!
  5. There are colour extracts made by JOHA in various colours including black. I used these to colour my clear varnish (oil/spirit) with great success... https://www.joha.eu/de/farbstoffe/farbextrakt/farbextrakt-schwarz?c=305
  6. How much and in what state (as is/dissolved) did you add the lime?
  7. Dear Giovanni, is it possible to tell the thicknesses of the front and the back? Thanks D.
  8. Dear RobertL, did you use the W&N dammar varnish straight out of the bottle? I once, from no obvious reason but mainly as an experiment, tried to use Umton Dammar varnish (used for varnishing paintings obviously) but with no luck. Although it dried fairly quickly and seemed to be hard enough, I could not touch the instrument as the heat of my hand made the varnish sticky almost immediately.
  9. Seems to be based on del Gesú's Messeas, am I right? Nice work Tets!
  10. Dear Melvin, I have always found your work to be endless source of inspiration and I am unhappy to see that you no longer post your truly amazing work into this thread. Do you please by any chance consider posting into your "MN bench" again? Thanks Dominik
  11. What makes you think that, Nathan? Thanks Dominik
  12. This is my favourite video about violin making. François Perrin making an exceptional viola.
  13. Dear DavidS, what is the fingerboard projection? From one of your photos it seems to me that it is rather low.
  14. I do opt for beech. It is not similar to any plain maple I've worked with but it strongly reminds me of beech I used to either scrolls or back plates of my small violas.
  15. Not exactly related to violins (at least I hope so) but my teacher used to have this conversation with me all the time - "How are you?" I asked..."It is bearable" he replied.
  16. From what I can see there are two different (?) instruments in the OP. If not I am confused! Anyway I agree with HoGo that the instrument in the first picture has got beech back. Not quatre sawn but beech. I have been quite successful with using beech in small viola backs, they give the instrument quite warm sound but also a bit of a weight. As HoGo says there is a famous Del Gesú violin with beech back and also there is a Paolo Testore viola with back plate of the same wood.
  17. I once tried to make spirit varnish using colophony but without success.The varnish was brittle and sticky, I also tried to add a bit of damar which is partially soluble in alcohol but without any success either.
  18. I agree with Martin. It seems he had a factory producing zithers, accordions and probably also violins but he mainly ran a shop selling these. The text on the right side of the label states: "Production of all musical instruments".
  19. I am very well aware that violins made from alternative wood species are rare and personally I've abandoned experimenting with different woods when building violins. But for violas it is a different story. I have been quite succesfully using beech for the back of my small violas. Personally I do not prefer the sound of quater cut maple back viola. I lean towards poplar, willow etc. That's why I was thinking about using Paulownia. There is nothing left to do but to try I guess. Dominik
  20. Dear maestronetters, does anyone have any experience with paulownia wood? I have been searching the forum but found nothing regarding using the wood for the back plate, only for blocks. From what I've found out it seems that it has somewhat similar properties as poplar. Am I right, or did I misunderstand? I was thinking about using paulownia for small viola back. Thanks Dominik
  21. Well, at least you found a gap in the market...
  22. Dear Nestorvass, At first I did not want to attend any of this conversation, but I've got to say something I guess. Few years ago I was in the very same situation as you are right now. I was more than very willing to make a violin. I spent hours and hours on the internet looking for information and step by step guides. I also discovered the opinion that David and others have - that it is not a very straightforward task and that it is not particulary easy to make a living out of violin making. The plan to build a superb violin on the first try collapsed rather quickly. I had to give up all of my unrealistic ambitions and start with what I had - a simple template made by Addie and the videos. Althought I had the impression that I am making the best violin in the world, looking back now, it was a complete disaster. But after that, together with studying university and doing some part time jobs, I found a local luthier who was wiling to teach me and only then I realised what I was doing wrong. Almost everything to be honest. Now I am undergoing a formal training with this luthier mentioned above and only now I can say I am becoming a violin maker. What I want to say with this? Go for it - make a violin, either from the poster or from one of Addie's molds. There are many ways to determine the arching heights and thicknesses. Many of them can be found on the internet. On some of my instruments I started hollowing the plates until I found that they are flexible enough. And it somehow worked, at least for the first instruments. But as you go for it, do not be discouraged and more importantly offended by someone trying to tell you that it is not as easy as you wold think. It is not only about telling you that you can do it, it is also about showing you the other side of the craft. Making 4 instruments for 5000€ per year is a nice idea but it often does not work this way. Plus take in mind that you have to buy materials yourself which is a lot of investments. Thus the price of the violin is not only for the instrument itself, it is also for everything what is behind it. Do not think about it a lot and start working. You will realise it is a great fun if nothing else I have my fingers crossed for you! Best wishes! Dominik
  23. Dear ScotPiper, thanks for those rather interesting informations. Did you have to colour your varnish somehow? Thanks Dominik
  24. I believe that the website is created by Czech violin maker Vojtěch Blahout. According to Google search he is also MN member.
  25. I do not and I do not hesitate to use wood that has knots in it as I find them very atractive. I only try to avoid knots that are not solid and have tendency to move or to fall from the wood. As Wood Butcher says I would try to avoid having them near SP area.
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