uncle duke

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    kaw valley

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  1. Drying A Pigmented Oil Varnish

    I can't tell what you're really working with material wise but just for a scroll/pegbox try mulling the pigment into the varnish you said dries fine. If you want a brushable varnish all I can suggest is to keep at it without ending up making a bunch of unnecessary material. That usually means adding thinners like spirits of turpentine or mineral spirits with your cold pressed oil being used as a retarder. Retarder means to slow down drying. What's bad about turps, min. spirits and more than likely plain linseed oil is that they kill the gloss sheen. Maybe that's expected for some but I hate it. Afterwards just apply clear over your colored work. As for a ratio. If you are powdering your colophony into hot oil then maybe a 1 to 2 ratio gum to oil measured by weight. How that dries by itself after application to wood I have no idea, just a suggestion.
  2. Drying A Pigmented Oil Varnish

    Use the same method on a scrap piece of wood. After you think it's dry enough try peeling the finish off of the wood. If it seems rubbery then it's too much linseed oil.
  3. Glair and Oil Varnish

    1. To me that is a good thing. Using egg white for a seal coat the first dried coat is sort of opaque looking/no sheen , the second coat is where shinyness shows. The sheen, weather dull or shiny, still doesn't matter to me. If it works on the canvass of the old artists' for holding their media it's good enough for me on violin wood. 2. How do you know that or who told you that? Sir, with all do respect, I ask. 3. I understand how you go about varnishing with the non-antiqued method. What or how you ground your work doesn't matter to me. If you were taught a certain way or learned something else you should keep doing what you do. After all is said and done here I'll be the only one sealing with eggs - fine with me. 4. Again, how do you know that? I've found egg white is difficult, well not difficult, but not easy, to remove from wood using turps spirits. That tells me it stays on the wood. As for oil staying on egg sealer? First, I'm not 100% sure two coats of egg seal the wood in the first place. If it doesn't then I have a little oil passing thru to what could be wood. I'd think that would be o.k. If the oil lays on the sealer without penetrating then good, that's what I need. No chippies yet - I just don't see how that could happen just by lying around on egg white sealer. Bumping into music stands or a bow riding along the surface of the belly in a case is just a by-product of the nature of playing a violin - it happens no matter the finish on the wood. My antiquing work is getting better - you guys better watch out.
  4. Glair and Oil Varnish

    Seems to me that since it's already water soluable it doesn't need any thinning. What needs to be figured is how much of egg white/glair solids are left behind after drying out. I use egg white but not with IV's varnish so I can't comment about op's inquiry. I prefer the egg sealer to stay on the outside surface just to keep oil from soaking through though I really have no way of telling what's happening there. I seal the insides also. This last piece of work I have here was sealed with two coats of Roman brand border paste. They say it dries to 14% solids left behind so I just used thinny two coats thinking now I have 28% solids for blocking oil soak through. Grain of salt comment folks, use at your own risk. I'm antiquing - anything goes and too lazy to crack an egg for a probably more reliable way. What's wrong with a shiny ground/sealer coat? I'd think nothing at all.
  5. "FLITZ" polish compound on violins

    Why not?
  6. To Restore or Not To Restore...

    I've got to admit that I didn't think you would actually try your hand at that though I was trying to encourage you to do so. I'm not sure what the shops charge for that kind of work. How I got into replace/repair edge work was when Jandepora showed up with a plate in his 2016 "A new one to i.d." topic. I thought that if someone can do all that to a plate then the least I could do is try my hand with replacing two sections of curved c-bout edges. About two inches worth each side. I was not sure of myself until seeing the shaping of the new edge wood started to appear like the surrounding good wood.
  7. Kremer's new violin ground

    Is that a spirit or oil varnish?
  8. 18th century Sradivarius copies

    This won't be knowledge, just words from an old book though the following were listed as imitators or copiest' of Stradivari during the 1700's. Gabbicellis, Giovanni di Florence 1720 Garani, Michael Angelo Bologna 1720 Strad and D.G. Geisenhof, Franz Vienna into the 19th century Hassert, Eisenach 1743 good imitator of old Cremonas Otto, Jacob Gotha 1765-1830 excellent imitator, Ernst was teacher. I noticed Contreras, Storioni and Panormo but they weren't listed as Stradivari imitators. A very many French makers listed as excellent but they were influenced by Amati or Stainer mostly, along with a little Guarneri here and there..
  9. Bad days

    1. What's your opinion. Years ago in high school afternoon band classes we would hear the soundposts falling down in some basses and maybe some cellos. Non-carpeted floor, the cello and bass racks were along an outside wall and the posts would fall during warmer, dry periods of springtime. I'd like to hear what you think what's happening without anyone else commenting before you. It's was a discussion I couldn't seem to win a while back. 2. I never could get any weight changes either though some say they do. 3. Warm player breath air over the instrument, along with sweat, certainly comes into play after a while. I'd hope the sound would be better after being warmed up technique wise. 4. Every once in a while it's like that way here too - I just keep trudging along. If the sound is just bad then it's just bad but hopefully in tune.
  10. Pseudonyms

    Well, here's the future plan when yourself and I end up fishing the same fishing hole at the new plant at the dam on the same day and you hear someone yell out Uncle Duke or similar - you toss a rock my way without hitting me and when I turn to look you just wave so I know it's you.
  11. Wait...what?

    It took me 2 1/2 years to make ten violins. Now, like today thinking about it, it seems that the time just flew by. I remember my 13 year old girlfriends. All I wanted to do back then was to dig through their fathers fishing tackle boxes.
  12. What kind of wood is this

    I still stand behind my two earlier white oak and locust guesses earlier but if you believe it's ash and has the smell you're describing you could cut the first shown example to expose the inside fresh wood, put outside and see if an emerald ash borer or the Japanese beetle shows up - they can't resist the stuff. Give em half a day at the earliest to maybe three days to show up - after that, it ain't ash. If they come flying in, then yes it's ash. Any other wood the bugs won't show up. I've made about a dozen shooting bows with ash. I don't remember any grain that looked like that in the first piece. A grain pattern like that would lead to failure is used, just my opinion. That second piece I think is honey locust but that straight grain pattern is rare though the spacing is right - companies like who you work for can't or at the least shouldn't move ash wood county to county, if I'm not mistaken, because of the emerald ash borer infestation regulations in order.
  13. Authenticating Joseph Guarnerius violin 1743

    I wish I could get away with that kind of gouge work.
  14. What kind of wood is this

    Just a guess -white oak first, if not, then honey or black locust.
  15. Sound improvement. Is it possible?

    Put this on the "last resort" list. If possible, see if you can turn the chin rest bracket into the chinrest a turn or two carefully to bring the chinrest outwards to set the feet of the rest on top of the saddle. You may have to reshape the feet to conform to the edge and saddle. And stop turning inwards if the threads won't go into the ebony further than they are now and deepen the holes some. Even a mm of movement of the chinrest can make a big difference. Remember this is last resort suggestion. Thanks Dr. Ludwig, I assumed the saddle would be o.k. but didn't take afterlength into consideration. What I had mentioned earlier was just to bring the G into play without having the D get in the way.