Matthew Hannafin

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About Matthew Hannafin

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  • Birthday 06/25/1985

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    http://www.hannafinstringedinstruments.com

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    New Mexico, USA

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  1. That's great. I sent out some more emails yesterday trying to work out the setup & delivery too. Nothing shaping up yet, but hopefully something works out soon. I agree too, it is very sad to see Addie, and Craig passing away during the project. Perhaps a letter of dedication should accompany the instrument to St. Marys...and make a special mention of two more of our missed M'Netters?
  2. As far as I know, it's still with Paul Belin getting varnished.
  3. I don't know for sure...but since I had these notes from school out anyway (I think they're right from the Weisshaar book) it says to mix 250g glue at 1 part glue to 2 parts water...so maybe yours is just too thin and the excess moisture gets pushed away when it cools? I have no idea if the separation is related to going off in only a few days...but that would sure be frustrating.
  4. Thanks for the responses. I appreciate all the help and links. I'd feel bad throwing this batch out...so I decided to carry on for now, and order from Bjorn next time. (I'm going to buy a small jar of minced garlic next time I'm at the store...this old mustard jar doesn't really offer any counter odor!) I went ahead and glued up last night...I was a bit worried thinking about this glue possibly leaving a glue line due to lack of clarity...but it turned out fine: So...how do gram strength and dilution in water relate? Can a glue like 315g be diluted enough to still work for gluing a belly to the ribs? I've had to repair one of my instruments in the past that was assembled with 164g at 5g glue to 7g water...and that belly came off just fine. Or is the strength of hide glue not as important because it is all easily broken down by dehydrating the glue for repairs? Or does it have more to do with higher strength glue being a bit more resilient to severe conditions that can threaten the glue stability?
  5. Well, the test went well...the glue definitely seems to form a strong bond. I dug out a piece of scrap to do a bigger test rub joint on...and that went well...seemed to grip nicely right away. Once I got a big smear of glue down though, I realized how vastly different it smells than the Behlen 164g I'm used to...and not good different. I held up the jar to my nose and gave a deep sniff...what a mistake. Shall I say...the odor of decomposition? Is a really bad smell normal? Are the higher gram hide glues just a bit more pongy?
  6. Well....I've used up the last bits of hide glue I had...I think it was Behlen 164g...for most purposes I was mixing 5g glue to 7g water. The new stuff I have is 222g from International Violin....it just seems a bit frothier than I'm used to...and it doesn't look as string-ey if you mush it in your fingers and pull apart. I have notes on glue:water ratios from the school and I mixed this stuff up at 5g glue to 9.2g water. I did a little test rub joint on some scrap and it seemed to be OK...but I thought before I glue up a back I'd make a post, have some lunch and walk the dog. Why is it so frothy? Is anybody familiar with the 222g from International?
  7. Yes I'm afraid I've moved half way around the world from Scotland. I've been in touch with some other makers I met and got to know in Scotland, but nothing has developed yet. It's really just needing somebody willing to get the varnished instrument shipped to them, and do the set-up, and then get the instrument to Saint Mary's in Edinburgh. I've not been in touch with Saint Mary's yet, but I think that would be the next step after we know more. I still like the original idea of following what John Cockburn brought up, and donate it to Saint Mary's as a gift from Neil's friends at Maestronet. I think once we have things laid out with a solid plan for getting it done, that would be a good time to let Neil's family know that we're almost done and take it from there. Another thing to coordinate once we know where the instruments last bench stop will be, is getting the label made up and off to that person as well. (Addie, are you still up for making a label?) It's also very sad about Craig Tucker passing away during this project. He generously donated very nice fittings and ebony for the project...perhaps there's a way to mention this on the label somehow...let me know what people think about this.
  8. Hi Rue, good luck on the hunt! I just wanted to say, that a properly set up guitar can really play quite easily. Most new factory instruments will just press in the frets, and then fit a nut and saddle that leave the strings higher (sometimes a lot higher) than is needed for a good setup...in an effort to compensate the inevitable uneven fret. I would plan to have any guitar properly set up, with a fret dressing, and setting the string height correctly at the nut and saddle, as well as proper neck relief for the strings you want to use. Some shops may throw this in when you're buying a new instrument from them. Another route entirely, if you have a shop you like and trust...is find out what they would charge for a neck reset, refret and bridge reglue, and take that as a rough guide and start shopping around for second hand gems. There are lots of great old guitars out there that need work to play right, but are nicely made solid wood instruments. Harmony, Silvertone, Kalamazoo, old broken down Gibsons, 70s & 80s Martins. All fully serviceable guitars with hide-glued dovetail necks (easy to work on). Even some old Yamaha guitars are quite nice when they're all setup...those aren't all solid wood, but you can usually tell if it's a laminate by looking at the end grain around the sound-hole. Anyway, sometimes you can snag a real gem for absolutely peanuts.
  9. The only thing I know, is that it's strung with D'Addario Helicore strings. It also looks like the neck graft has been compromised...there seems to be a gap at the floor of the joint. Has it had string tension on for a while?
  10. The first thing I ever had to do at my first job as a luthier was to fit a soundpost in a 1/16 violin. It was a new outfit...the shop had a lot of rentals in fractional sizes. It wasn't uncommon to see 4 or 5 year olds come in and get fitted with something that small. I would guess somewhere in time there was a young kid that wanted to play violin, so a relative with a workshop set about to make it happen. It looks like the purfling and drawings were made at the same time with the same marker...so that's pretty sweet to imagine a craftsman trying to make it fun for the youngster. Somebody obviously cared enough for it to try and fix it at one point.
  11. Hiya Fox, thanks for the kind words. Don't take any of my varnishing advice too seriously...I'm probably not the person on these boards to be handing out varnish ideas That being said...I think the effect just has a lot to do with the texture of the wood. I think if you don't want this effect at all, just raise the grain of the spruce, and lightly scrape it back down before you begin varnishing. I don't know how you like to apply your varnish, but if a little spot develops when applying a color coat, it's pretty easy to brush with the grain lightly and it might pull the color up out of the heart wood. If you brush firmly across the grain going "uphill" you can put color into any slightly recessed heartwood (the corduroy texture has to be there). I started deliberately putting color into the heart wood fairly early on in the process if I know I want that effect. Basically I raise the grain of the belly, and then just skip scraping it back down, and proceed to put on the ground. Once satisfied that the wood is properly sealed up, I use a little swatch of linen folded into a pad, and put a few drops of varnish on the belly, and rub that around, and gradually start sprinkling pigment onto the piece and rub it in. The pad basically smooshes pigment into the recessed heart wood, and all the varnish does is act like a binder. Nothing really sticks to the summer wood...I guess it gets a bit darker...but if you go to a clean spot of the pad it will pull color back up and you can go back and forth until you're happy with the effect. With controlling the wood texture, you can also control what spots get the dark heart wood and where it fades. I've been mixing some greyish/greenish hues into the wood in those spots too...I don't know...I think spruce is hard to make look interesting....maple is just like, wipe some stuff on and (boom!) flames and excitement everywhere.
  12. I'm glad the pictures work...I used to resize everything to 800x600 or so...but we looked on my wife's tablet and I think the internet resizes things better now. I recall clicking on images from MNet years ago and things would be really zoomed in. Thanks Nick. I started trying to get lots of color on top of the winter wood...I think it helps colors blend better, and opens up more color levels to play with for antiquing. I think the strong offset can really liven up the belly when doing lighter varnishes as well: Although probably not to everyone's taste...
  13. Bill, I'd say you need to walk to a store and get some pints and then contemplate why you're posting all of this stuff toward respected people on a public forum....but....for public safety maybe you should wait until tomorrow when it's light outside.
  14. Bill, I think if you find Korinthia's speech as "coming out swinging" it might in fact be you that has a chip on your shoulder. The problems Korinthia wrote about aren't some invention of the media...it's all first hand experience from VSA members. One main point was that just because you've never seen it happen, or heard about it happening first hand, doesn't mean it doesn't happen and I think that point was lost on you. I'm also pretty sure when Korinthia wrote, " I don’t see any reason why our profession can’t choose to be the most supportive and inclusive industry of all. " She knew there'd be a few Bills out there! Anyway, Bill, from one guy to another, trust me...you're making an ass out of yourself.