Advocatus Diaboli

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About Advocatus Diaboli

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  1. I’m always a little surprised by the focus on the fundamental frequency of the free plate modes. The best sounding Italian instruments that I’ve handled taken apart had pretty distinctive qualities to the tone of the free plate modes and stuff like that. Kind of a complex thud and less like a clear tone. The less amazing sounding ones don’t as often have the same quality.
  2. An arching method and a method of creating arching templates are different things. While you’ve worked out a seemingly very workable method of creating arching templates, the actual arching method is still lacking. Most golden period instruments show a very clear tooling progression. It seems like you have a solid method for the design, but that’s only half the battle.
  3. I think this is the first time I’ve heard David say anything nice about antiquing! That also brings up the question of why and who you’re antiquing for. Are you antiquing for the client, other Luthier’s, or yourself? Are you antiquing to make a fashion statement? Are you trying to end up with a result that comes close to fooling people? Are you trying to take away the newness just enough that the player doesn’t worry about letting it wear from use? Frame of mind can change everything.
  4. Good point. Polished out dings are almost impossible to see, but it won’t look right without them. Even rattling around in a case without being played can ding up a violin. Everything Don said about crackle is worth listening to. What I’ve noticed is that good varnish will usually always crackle the right way, unless you’re really abusing it.
  5. Good crackle is your friend. Dry rosin dust and dirt will also be a help.
  6. Partially true, yes, although the fluorescence of oil varnish DOES get much more intense over time.
  7. So it sounds like what you’re saying is it would be perfect for a ground varnish.
  8. Checking my copy of the Strad varnish book, it also looks like Greiner was cold mixing the test varnishes instead of cooking them, which will also give very, very different results. #19 in the notes section.
  9. My understanding about the B&G 4:1 is that it was arrived at as a result of experiments Greiner did with various batches of varnish he made. It's also worth keeping in mind the resin being used will give different results, Greiner was using rosin oil and resin, not pure spruce resin as Brandmair suggested was most plausible. Taking Greiner out of the equation because of the possibility of preformed maker's bias, Brandmair and Echard agree a lot more closely than it might seem on first glance. Especially taking into account other analysis by Brandmair, I don't think she ever rules out the possibility of an oil ground. My two cents.
  10. I haven't had the same problems with cochineal fading that a lot of people have mentioned. I even kept a test strips with samples of different lakes mulled into varnish at the bottom of my light box for about a year, and the cochineal was one of the most stable.
  11. Knowing me I could still be wrong. It's what I'm best at! The only thing I know for certain is it isn't a Strad. I don't have any Strad files on that computer, their all on my laptop which won't work right now.
  12. Right. I've lost myself now. I think I uploaded the wrong image. The red line is the same as the previous red line. The blue line was also modern, but about four years old. Apparently I'm still as bad at organizing as ever.
  13. Here are two of those comparisons. The red line is the same instrument as the above blue line violin. The blue and purple lines are the same materials, blue is the same model and purple is a different model, although the intention was completely different for all three.