Daniel P.N

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About Daniel P.N

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    Sweden

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  1. Casein glue and ground

    I had this problem too, and in my case it was my lime that was crap, not the casein. Worked very well with ammonia instead. And yes, there is a whole book about Casein, full of recipes! Casein; its preparation and technical utilisation: https://archive.org/details/caseinitsprepara00scherich This video is the most informative i have found about the process, it not only shows how to make casein, but how to purify it:
  2. Cooking Colophony Down For Color, Low and Slow?

    I was searching around trying to understand what is going on during the cooking of rosin, i would like to find out if the color change is from concentration or some reaction, and i found this article: http://pubs.acs.org/doi/pdf/10.1021/ie50532a048 Unfortunately it does require some kind of membership to read, maybe someone here have access to it? The available part says some interesting things:
  3. I want to see your work.

    Number 4 suffered my first glazing attempt today
  4. Nice recent article at Strings Magazine by Andrew Dipper: http://stringsmagazine.com/a-look-at-parisian-violin-makers-approach-to-varnish/
  5. Does anyone know any good acoustics journal?

    Was it, by any chance, "HARDIN, Burton Ervin, 1936- . A COMPARISON OF TWO METHODS OF ARRIVING AT THE MOST SUITABLE THICKNESSES OF VIOLIN PLATES." ? I may have attached it by accident. two methods of arriving thicknesses of violin plates.pdf
  6. Does anyone know any good acoustics journal?

    http://www.savartjournal.org/ "The Savart Journal is a multidisciplinary open access online micro journal featuring peer reviewed research articles and research notes on all aspects of the science and technology of stringed musical instruments, bowed and plucked"
  7. Determining Arch height based on wood properties

    Don, just to make sure i understood correctly what you said, you mean that body modes are important to sound quality but are not related to free plate modes, right? Or that body modes and free plate modes are both, and their possible relation, not important? Non native english speaker here
  8. Davide Sora's new videos on scroll and peg box carving

    I am always impressed by how sharp Davide Sora's tools look, maybe this was the most important lesson i learned from him, i guess that is where all the 'easy going' feel comes from when watching him work, and the great results too. If you could talk a litle about your sharpening routine it would be great! And i never lose an oportunite to say thank you for those videos, Thank You!!!
  9. Recommended Gouges Sweep and Size [Width]

    Those are the ones i noted from Davide Sora's videos : n°3 x 4.7mm n°4 x 23 mm n°5 x 23mm n°6 x 6.3mm n°6 x 10.5mm n°6 x 13.7mm n°6 x 18mm n°7 x 11mm n°8 x 9.2mm big ones for rough carving: n° 3 x 34mm n° 6 x 34mm But you certainly dont need all of them to start. I started with Narex gouges and dont recommend them. I buy from http://www.ashleyilestoolstore.co.uk/ now, very good quality and price.
  10. Video of the 2014 VSA Convention and Competition

    thank you! very interesting.
  11. red flames

    Thanks Ben, i dont have tripoli right now, but i will see if i can get it before i finish my next violin.
  12. red flames

    I was reluctant at first to ask about it, because i know that finishing tecniques are understandably more private to each maker than other things, but this forum always surprise me with so much generosity and knowledge, thank you all very much. I used nitrite and natural sun light to get some color to the wood, then the plaster of paris ground just like explained by Roger Hargrave, just finished polishing with linseed and pumice, next i will apply a clear coat before trying my rosinates. Just apply the color uniformly to the wood, or apply the color and than scrap ?, i tryed stain + scrap to enhance the flames before and they burned, but i probably overdid it. The amount of imperfections i can see now in the pictures that i could not just looking at it is, amazing.
  13. red flames

    If i wanted to achieve this effect, do i need to burn (lock?) the flames in the wood?, or is it possible to make it with the varnish alone, without color in the wood itself? I guess that some areas reflect more light back then the others, given an angle of view, resulting in the visual effect, but it is hard to be sure without ever have seen it a live. I have a cello with a similar effect, but the flames are undoubtly locked with pigment, what i would like to avoid. I have made a working oil varnish after a lot of trial and errors, and now i am experimenting with coloring options, like artist transparent red paint and rosinates. Thanks in advance.
  14. Texture In Finished Instruments

    That is interesting!, could you please elaborate more on this observation? Thanks a lot.
  15. Useful Internet Articles

    http://www.makingtheviolin.com/ Covers the entire building process, including templates for the messiah.