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Normally there won't be any reaction wood is straight growing tree. Perhaps down near roots especially if it grows on a slope but above some point the wood would be very similar all around log. I've got spruce that I split that had slightly thicker late growth on one side of log, not a "full" reaction woo but just slightly "touched" I've got a mandolin top carved out of the most prominent late growth piece just for the fun but haven't used it yet.
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You can use it to print custom labels the old school way.
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Conifer wood with significantly higher proportion of latewood is likely a reaction wood (compression wood). BTW, Steven Gilchrist, one of the most renowned mandolin makers often uses spruce with very prominent latewood. And with great success. He has made some 900 instruments so he likely knows his craft. Back to OP, tight grain is also preferrable because it makes cutting edges and f holes more cleanly and smoothly. Wide grained wood will tend to lead tools into cutting steps when going at shallow angle to grain.
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Looks more like a tiny bearclaw figure than knot. No problem.
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Or use lower gram strength glue. High gram strength glues have much shorter gel time.
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I just got reply from author of the site, Vojtech Blahout, and he decided to keep the domain alive and add possibility to download the whole contents for those who want to have it available offline (or as a backup). If, in the future, he decides to let the web go he'll let us know in advance.
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You can add table salt or urea in percentages up to 10% but both have drawbacks. Mostly they make the glue less resistant to humidity and prone to creep. Not recommended for joints under constant tension. At higher percentages the glue stays liquid at room temperature. The commonly available liquid hide glue (old brown glue) I believe has urea in it.
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Sure they do! Fine grained spruce sells fester and for higher prices !
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Looks like chip in the maple edge with accumulated dirt to me.
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Here is chart of products of the local glue producer. https://www.tanex.cz/cz/produkty/kozni-klih/ The last line is fat content. Interestingly rabbit glue and the highest strength hide glue (280-340 g) show fat content around 4% while the rest including technical gelatine and match making glue shows level about 0.4-0.8% .
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The company I talked to is in EU, the EU regulations can be weird...
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Not all gelatin is made to high gram strength. You can buy edible gelatin in strengths of 150 g, 200 g, 250 g for different purposes in cake making and technical gelatins up to 350 or 400 g . My gelatin is 200 g which is about perfect for all purpose glue. If you cook your own head cheese (which is pretty common here) you cook pork meat, vegetables and pork skins for a long time but at low temperatures to extract gelatin but usually the rest of the skins are removed after cooking before pouring into forms because they won't be soft enough for eating. If you cook at too high temoeratures or too long the head cheese will be a bit soft to cut into nice solid slices.
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Could that be partially result of their arching shape? That one of mine has kinda "flat" cross arch with steeper rise from waist and almost flat under bridge. I thought that it's likely result of bridge pressure, but it is the same on bass side where bassbar would not allow that much deformation. If I remove the top again from my fiddle I'll measure M5 too. I'll probably remove the bass bar as there are thicker places under the bar that might offer some wood to remove. I'm working on new electronic hack-gauge now so I can check back thicknesses more precisely before I open it and decide on possible steps. It's kinda fun for someone like me who is not living out of making .
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I know that most of great violkins are like that but they seem crazy light to me when I compoare to the violins I had in my hands and especially to mandolins. I wonder why do you think that the "student" instruments are necessarily constructed out of high density wood? I don't know much about wood selection for the "usual" but I don't think they did more than just simple cosmetic grading where the cheapest instruments were carved from whatever was at hand and better grades got wood the looked nice and fine grained for tops and nice curly maple for backs/sides/necks. I'd guess density of wood on those would be more likely randomly distributed? That fiddle of mine still has some wood to offer when I compare it's thickness to the thicknesses of Strads so the density may be not too high. I'm thinking about giving it a second go sometimes, just to see. There's not much to lose. :-)
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I will contact you as soon as VB gets back to me.