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Nick Allen

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About Nick Allen

  • Birthday 10/05/1991

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  1. I usually just make a new one these days. It's honestly less work than popping the old one off (fingers crossed it doesn't split anywhere), making a shim, trimming the shim, refitting the nut to the fingerboard end, gluing it back on, trimming it again, doing any fill in the sides that may be necessary, redoing the nut string slots, crowning the top, and polishing. I can make a new one in like an hour instead.
  2. Kremer sells Shellsol. I managed to pick it up down the street in-store, luckily.
  3. I managed to order from them a little while ago and got some!
  4. I'll post some pictures of it strung up and polished soon.
  5. Some shots of the instrument nearing completion.
  6. Thanks! I use a variety of methods. On this one, I used mainly alcohol polishing, some very light and selective abrasion and chipping/scratching with various tools.
  7. Hmm. That doesn't look quite right for some reason... It could be the proportions that you used? I usually just put enough alcohol to make it just short of water consistency when it's fully dissolved. I filter it obviously as well. But this mixture does not look right. Benzoin should be more orange-gold in color, and it shouldn't settle out like that. There is some detritus to be had when dissolving the raw resin, but it's usually just bark and bug pieces with the occasional pebble/dirt.
  8. I use it in my French polish. The self leveling aspects are phenomenal. You can polish and not worry so much about the little rag marks left over because if you just let the violin hang for a day, the little swirls or streaks will just melt down nicely. I will say that French polish with benzoin will take longer to reach a state of cure that is good enough to put back into a case without leaving marks or sticking. It smells so good and that's almost worth the price of admission alone.
  9. In short... No. Pore size is more indicative of species, and there is natural variation within a single species and even within the same tree. But density, speed of sound, and cross-grain/longitudinal stiffness are going to have more of an effect. The pore size is probably more of a correlative than anything else.
  10. Hmm. Thanks for the concise info. I am on the trajectory to make copies/forgeries(not for nefarious purposes) primarily. But having info about all types of varnishes is nice because I can have more tools in my belt when I need them.
  11. Hey Davide. Does the linoxin varnish antique well? Does it chip and shade okay? Just curious. Thanks.
  12. I concur with this sentiment. So many systems have been though of that seem to be the answer. But to me, there is none, or we'll never find it. As Chris said, we're just reverse engineering something with systems that approximate the shape were after. I think that possibly the shapes were made with practicality in mind, and simply to suit the eye. The amount of fudging that has to be done to get these proposed systems to actually fit what were after tells me that we're just spinning our wheels, generally.
  13. I agree with this. To me, as long as the bridge feet are situated centered on the body, and the foot overhangs the bass bar well, and consequently the post as well, then the exact north/south position isn't the most critical thing as a rule. It's all about the individual player and their needs and goals. 328mm seems to work for most people. Some folks can handle 330mm, which I think sounds better personally, but I still try to aim for 328mm, with the bridge sitting on the centerline of the body and the appropriate width for the bass bar. But it all depends and there are no laws.
  14. Thanks! I agree. The dark spots are getting managed. I'm not a huge fan of them. So I can polish/scrape them off, just like one would clean them in real life.
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