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Advocatus Diaboli

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Everything posted by Advocatus Diaboli

  1. There have been several discussions in the past about dichromatism and it’s presence in classic violin varnishes. There have also been some discussions about the difference in dichromatism and dichroism. Let’s not derail this thread into either of those topics, since they’ve been pretty thoroughly hashed out. the couple times dichroism has popped up in threads it’s usually an explanation of why the color shifting we see in classical varnishes is not caused by it. I mostly agree. But…there have been a handful of instruments I’ve run into that look as if some oil in the color had leaked out and formed a blue-green layer on the very surface. I thought about that again when I went to print some labels this evening and saw a board with some dried up printing ink on it. Linseed oil and lamp black are the only ingredients.
  2. The Titian has replacement blocks. Off the top of my head I think the originals might be in the NMM.
  3. I’m assuming that refers to copying the wear on the woodwork, ie. antiquing.
  4. Great job! I love how subtle you’ve left everything. Are you working solely off the poster?
  5. Plain wood is often my favorite looking! Sometimes with a single flame or a small knot.
  6. (If this works) @Tets Kimura this is my ground.
  7. I'm getting .447 density for the Titian bassbar, and 4.46 grams.
  8. I’ve done plenty of ct rendering, so I’m aware of that. Still, that’s a pretty extreme amount! I’m getting 98.7 grams for the back and 57.5 without a bar for the top from a ct scan. There’s a bit of starburst from the fine tuner, so that could be messing with things a bit.
  9. The titian has a back weight of 98.5ish grams, and a top weight of 66.6 grams with a bar according to some old notes of mine. I'm not sure how anyone calculated the CT weight at 48.1??
  10. I’m a little u sure how he arrived at the mass numbers. I’ve checked and rechecked the scan, and I end up with very different numbers. Added up they match the weight of it, so I’m assuming they’re at least close to accurate.
  11. That can be a result of a tree being suddenly exposed to new conditions. For example, if some trees come down and form a clearing, the trees nearby will experience both warmer summers and more extreme winter conditions. Micro climates are weird things!
  12. I understood that. My point was that I don’t have the same results with aging oil.
  13. I guess I’m a bit confused by the visual muddiness. Over applying will make things a bit indistinguishable, but oil applied well shouldn't do that.
  14. I vaguely remember David Ratray claiming it was Super Nikco a while back.
  15. This is thread is reminding me of a concert performed at Oberlin acoustics a few years ago. The audience didn’t know which instruments were being used for the various pieces until the end, although everyone knew there were three old Italians in the mix, including a Strad and DG. During one of the pieces a maker turned to me and said something to the affect of, ‘whenever I hear a Strad that sounds this good it makes me want to give up’.
  16. The ribs should be thicknessed so the corner blocks are integral. This also allows completely plain maple to be used, since the necessary shape in the corner cuts through end grain, thus giving a dark line, or ‘flame’.
  17. Fonclause workshop?
  18. They required a few more calories to operate.
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