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Daniel P.N

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Everything posted by Daniel P.N

  1. Love the podcast Christopher. Please come back with the inappropriate violin jokes
  2. In this case, can we say this is a highly concentraded cochineal rosinate?
  3. Yes, yet another blindfolded violin comparison. Warning, before watching you should know: Its not scientific Its not trying to prove anything Its very well humored So it may not be for you I enjoyed a lot seeing the players conclusion, and I hope some of you guys will enjoy it also:
  4. Hey jmssartori, I had very good results with the 1704 varnish recipe using the floc shellac available in stores in sao paulo with the common 92 alcool. (sorry i just remembered that it was 99% that i bought at the quemical supplier, not the common stuff) BUT, make sure it is real shellac, some stores sells something they say its shellac and it looks like shellac, but is very cheap, that thing is not shellac and will not work. Funny thing is I have seen this cheap thing been sold with the name "cockroach wings varnish". Also maybe your alcool is bad quality, more water on it then it says, wich could explain lack of translucency and problems to dissolve the resins. I also had good results with oil varnish using the brazilian rosin and artist grade linseed oil, but thats another thing.
  5. I was asking for a link of the podcast at spotfy or youtube, like most people I dont use itunes. I found out the website and I will listen from there: https://www.omopod.com/
  6. Great! But I cant find it on Spotify, and I only found another non related "omo podcast" on youtube, do you have links for us non apple people? Maybe its country restricted?
  7. Beautiful pic Conor! Whas he talking about Mandelbrot? There is a whole thing about explaining nature design with Mandelbrot fractals (https://en.wikipedia.org/wiki/The_Fractal_Geometry_of_Nature) Its the first thing i think about every time a see a scroll, Mandelbrot fractals, its like scrolls made of scrolls that are made of scrolls:
  8. Hes comments in the video makes me think it is important to note that space pictures colors are not real. "Hubble images are all false color – meaning they start out as black and white, and are then colored. Most often this is to highlight interesting features of the object in the image, as well as to make the data more meaningful. Sometimes colors are chosen to make them look as our eyes would see them, called “natural color,” but not always" Source: https://asd.gsfc.nasa.gov/blueshift/index.php/2016/09/13/hubble-false-color/ And if you really want to understand how they do it: http://hubble.stsci.edu/newscenter/press_resources/skytel200209028034.pdf
  9. Had no problems with the rosinates from recipes 41/42/43 (standard ones, not with calcium) into oil. Dried into powder, cooked (fused?), them cooked into oil. The final color was disapointing so never used them.
  10. @DoorMouse this is a post from 2016, i think it was my second or third instrument, very plain wood, clear oil varnish, and just a bit of sun tanning with some sodium nitrite. And I wondered why i had no flames at all
  11. 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:
  12. 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:
  13. Number 4 suffered my first glazing attempt today
  14. Nice recent article at Strings Magazine by Andrew Dipper: http://stringsmagazine.com/a-look-at-parisian-violin-makers-approach-to-varnish/
  15. 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
  16. 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"
  17. 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
  18. 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!!!
  19. 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.
  20. Thanks Ben, i dont have tripoli right now, but i will see if i can get it before i finish my next violin.
  21. 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.
  22. 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.
  23. That is interesting!, could you please elaborate more on this observation? Thanks a lot.
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