Advocatus Diaboli

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About Advocatus Diaboli

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  1. Question for chemists: KOH as part of wood treatment?

    Yes, it's a Del Gesu and it's been revarnished. It was restored from essentially pieces, and didn't have original varnish, so it was revarnished. The other one is mine from a while ago, with the iron treatment.
  2. Question for chemists: KOH as part of wood treatment?

    Application method, concentration, and prior and post treatment can make it go horribly wrong. I'm a bit cautious about it anyhow. Most of the color I'm getting comes from tanning beforehand, and then using very weak solutions of both. I haven't had any problems with it not drying, or colors fading. Also worth mentioning I only do it on some of my instruments, not all. Anyhow, this is what it looks like when done correctly. (the name tags aren't right, and the other one is a 1742 Del Gesu, although it's been revarnished.)
  3. Antiquing trick

  4. Antiquing trick

    Ah, there's a very small amount of corduroy texture that the varnish could have pulled into some, but I think what you're seeing is mostly just the darkness of the winter grain lines making the color more noticeable.
  5. Antiquing trick

    How do you mean? This doesn't have any wear or antiquing.
  6. Antiquing trick

    Yeah, it's oily varnish. Pretty much just sun thickened linseed oil, pine gun I collected and larch turp. I'd be happy to send you some tonplay with if you wanted.
  7. Antiquing trick

    True, although it's dangerous to assume that anyone who makes a violin start to finish by hand knows what they're doing, and that someone making pieces in a factory doesn't know how to make those pieces at a very high level.
  8. Antiquing trick

    Just now saw this. I make my own varnish, but obviously what one person makes will be extremely different from what another person makes. I don't know much about commercial varnishes. Ideally, for both straight and antiquing, find something that has properties that allow it to wear well (am I being too obvious?). Softer varnishes often disguise wear better than harder varnishes, and surface texture DOES play a huge role in what's more obvious. A good ground that dents instead of chipping or turning white makes everything much better! Does that answer the question at all? Here are a couple shots of my varnish the way it ends up off the brush. I polished it out a bit later, but still like to leave some texture.
  9. Antiquing trick

    If you want your scratches to look and act right, you need to start with the right varnish.
  10. Worn varnish under chinrest

    Played by someone with a beard?
  11. French Polish materials

    A slightly heated polish layer will polish out with less solvent on the rag, in my experience.
  12. French Polish materials

    A heatlamp goes a long way for the final polish. (On new instruments, obviously.)
  13. Strad (and other) models database?

    I know I've mentioned this before, but the P.M. is an almost perfect match to some brothers Amati instruments.
  14. How do you "dirty" up a new instrument?

  15. How do you "dirty" up a new instrument?

    The simplest answer is most likely to use all the different kinds of dirt in as many thin layers as possible. My general rule of thumb is that if you can see the dirt in any given layer, there's too much. The exceptions, in my mind, are the dull stuff under the edges and in the crannies of the volute, and a rosin mustache, if you include one. Casein paint, oil tube colors, shoe polish, dry pigments, furniture dust, and dryer lint are all great, if applied thinly enough. Powdered rosin works well for a final dusting after polish, especially in scrolls.