DoorMouse

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About DoorMouse

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  1. Ha, good luck procuring my secret wine recipe! Here are a couple shots of my experimental varnish in progress. After a coat of casein rubbed into the wood.. and after a thin coat of varnish. I started out too thick and had to wipe it off with alcohol. It brushes on thin and dries to the touch in about an hour. i had some burning in the end grain areas. Next time I’ll put an extra coat of casein in these spots. The current color looks very Amati/early Strad to my eyes. I’m trying to decide if I should add color or see how it turns out on it’s own.
  2. I bet you have the nicest labels!
  3. Yes, it has a lot of turpentine mixed in. It's an experiment so I'm not sure how it's going to dry yet but it seems like the working time is shortened considerably. As the turps evaporate the varnish starts to get gummy so there's really only a window of 20 seconds or so to get it how you want it. It'll probably be more of an apply it and leave it scenario similar to spirit varnish application.
  4. I’ve also been working on a 2 gallon batch of dandelion wine..!
  5. Here’s my first experiment with something close to 1:4 varnish compared to my previous batch of 1:1. The 1:1 looks like it’s faded a bit. I’m curious to see if the 1:4 does the same.
  6. Thanks Thomas, I really enjoy working with the lathe. There was definitely a period of time when I was learning how to use the different types of tools and the mistakes were sometimes explosive. The skew chisel is still a challenge for me but I don’t do too much spindle work. For the most part the detail tools I’ve made for collars and pips function as scrapers. This instrument was a speed build for me. It took about two months of weekends to get it built and set up in the white. The varnishing is going to take a bit longer. I just picked up the Stradivari Varnish book and there are a few things I’m rethinking. I’ve been experimenting with casein as a sealant. It doesn’t seem to take much to keep the end grain areas from burning plus it’s fun to make. I’m also thinking of reintroducing solvents and trying for a leaner ratio closer to 1:4
  7. There’s some fine fitting left to do but the pegheads are done.
  8. Is there any reason why you wouldn't make a transparent lake instead of the process shown in the Anton Somers video above? It looks to be the same process you would use to make a madder lake..
  9. My latest Strad model getting some sun after a little Rubio treatment..
  10. The viola has a very Brescian look. Maybe da Salo? Those are definitely contenders for longest ff's!
  11. I've got a squirrel tailed Stanley 101 that when finely set and sharpened works really nicely for neck purposes. It's nice to have a few sizes to choose from. 101, 102, 9 1/2.. but usually it's the 101 that feels right.
  12. Lovely work all around. It's interesting to see such a variety of interpretations. The David Gusset really stands out to me in terms of varnish and antiquing. It would be cool to hear what they all sound like.
  13. You might consider adjusting the tailgut to different afterlengths in addition to experimenting with the soundpost position. You can try the extremes first to rule out what doesn't work. The setup can affect the tone much more than you might think.
  14. Michael Darnton's cold Mastic varnish recipe is dead simple to make and easy to apply. I used that on my first couple instruments with decent results.
  15. I’m feeling better about the edgework and corners on this one. There are a few rough spots with the purfling from not cutting the channel deep enough. Hopefully I’ll have it strung up in the white next weekend. the peghead shapes are a little inconsistent but I can live with that..