Nik Kyklo

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About Nik Kyklo

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    Member
  • Birthday February 10

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  • Gender
    Male
  • Interests
    Bow making, bow restoration, violin restoration

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1515 profile views
  1. Thank you very much Mr Sora for your answer. I could not locate the old topic, but with your help now I can read the text. Your video on the linoxyn is great and unique, too.
  2. Hello. I would like to read the English text from the book of Alla riscoperta della vernice degli antichi liutai / Lapo Casini. I think that just a letter form 1983 is translated. The book exist online at archive.org but the English text is missing. Since I don't read Italian I would be interested just for the English text. I looked to buy the entire book but nobody sells it in Italy or in Europe generally. Also, libraries do not have it, close where I live. I would admire your help, where could I find the translation. It has to be very few pages. Thank you
  3. Thank you all for your answer. I do not want to use it as varnish but after varnish, for final polishing. With an abrasive powder, water and carnauba, the finish gets nice and the musician can also wipe the instrument after playing - the dirt is removed and the polishing effect remains. Turpentine and (linseed) oil / wax solutions and pastes are not something I would like to use. Solvents are more attacking to varnish that water based emulsions. This is the reason that I search for a proper emulsifier.
  4. Thank you jezzupe. Researches shows from 1 to 5%. Please, do you have any opinion on that or on the use of other types of glycol in polish compounds?
  5. Thank you for the suggestion. Have you use it with success? I am not familiar with m. Cellulose. Do you know what historically used in polishes as emulsifier except soap and yolk?
  6. Hello I would like to finish my violin varnish with a water /beewax/ carnauba emultion. What would be a good emulsifier for these (Borax, stearic acid, soap, lecithin etc.)? For wax and water is known the use of Borax (& boric acid). But I read a recent paper that mentions borax as carcinogenic. Also, lecithin and other natural emulsifiers producing vacteria after time. What emulsifier would be the less harmful for varnish? Thank you
  7. Very interesting topic. I would also like to know about feet length. How much is it related to the general viola dimensions? Does it follow the principles of soundpost and bass bar or it depends upon the kind of sound we are looking for?
  8. With all the respect since I always admire your comments, I would like to add one more sociological parameter: In some countries with low salaries (Eastern Europe etc.), strings are not the most easily thing to change. What I know is that musicians are very concerned about the price. Price in No 1 indication for many pro violinists (+ Corona virus situation and unemployment). If we agree that strings are a trial and error process, we agree that a violinist can buy as many expensive string sets and try them on. That is the ideal option. Since a violinist have a certain budget for such an experiment there have to be some guidelines. (Please, I give my point of view.) What I think that is important about strings is: -Linear density (When linear density goes "up" , tension goes "up" too.) This has to do a lot with the primary material of core and winding. -Uniformity This is the point that differs the one string from another. Quality of material, quality of winding, core quality etc are all responsible for the uniformity of the end product. Cheap strings loose faster their pitch, or loose proper vibration properties because of uneven linear density distribution. Angle of neck, bridge height, plates flexibility, dimensions etc. has to do with tension. Tension 's distribution on the violin is one of the most difficult things to control. So, string are as much important as the other aspects of the violin s construction.
  9. Hello. I just started studying Recitativo and Scerzo, the known Kresier s unaccompanied violin solo. I found the score online. I would appreciate if anyone can help me finding a score with fingerings or any online Masterclass for that particular piece (I am afraid that online Masterclass does not exist). I want to look after as much ideas as I can (except YouTube performances). Thank you
  10. This is what means pravi Majstor - Master of craft. With few tools to have the best result. This is what old masters was able to do and what distincts the capable craftsman from the modern CNCed mechanic. The more with less is the rule for the maker with abilities. Or it may be a kind of talent. I had also to Iearn the hard way that cheap tools are never cheap. You pay them double when you find that are useless and you have done a bad job.
  11. Thanks for sharing too. Very interesting it's entire YouTube Chanel videos.
  12. Very good option. Thank you. I understand what you mean and you are telling the truth.
  13. Thank you for the information. I know these planes. I had some of these but are not suitable for hardwood (blade quality) and width is small.
  14. I am grateful for your job and I give my thanks. Afterlength really looks long enough. On purpose or by mistake? By the time the violin was in the museum, the (tailpiece s) gut would be more possible to elongate. In contrast here, tailpiece remains low and tailpiece s saddle looks to have greater distance from the edge, than normal.
  15. Thank you very much for your suggestions. I was looking more for ~90 degrees blade: http://www.cag-tools.com/block-bow.html https://www.lie-nielsen.com/products/small-scraping-planes Prices are high so wooden diy would be better choice for me. I was thinking also if making something like Taiwanese plane - but push action, would be fine. https://www.dictum.com/en/traditional-taiwanese-planes-baep/taiwanese-scraping-plane-703292