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  1. Take clothes iron when your wife is out. Don't use steam and clean it thoroughly after use (some oils may bleed onto the surface from the wood)
  2. HoGo

    New makers

    Of the 20 I made, half was sold directly to local musicians within EU who knew me directly or from internet, some were made to order from folks who heard of me from other satisfied owners, some I just made to my specs and later advertised on internet and sold. Reputation of the maker among your previous customers or those who try out your work makes big difference in how quick (if ever) they sell. I'm not a pro but the only instrument I didn't sell was my first one that I keep for myself. Maker who builds full-time may have problem with saturation of local market (if he is not living inlarge city) and will need to expand with sales.
  3. Most violinmakers use hot hide glue for every wood joint on their instruments. SOME use Titebond 3 (strongest/waterproof variety) for centerjoints but usually for the larger instruments where timely clamping of the large area joint may be problematic before the hide glue cools OR because they use water based sealers/fillers that may open centerjoint on fully assembled instrument. I would avoid using Titebond I (original) as it is known for creep in hotter environment.
  4. Couldn't one just filter out the coagulated mucilage after the heating?
  5. Saturate/paint them with thin CA glue and lightly scrape off excess (with the pegshaver) after drying.
  6. In this context even elephants are not endangered as species, ZOO's have plenty of them and new are born in ZOOs regularly. The problem of poaching and overharvesting is so multifaceted that no two groups of people will agree on everything. If the pernambuco gets highest level of protection, then the wild habitats will get it as well and further deforestation and colonization of those habitats will be more likely stopped (or at least slowed down). If you consider pernambuco easily regenerated then develpoers can argue they need the area an will plant some new trees elsewhere to compensate the loss of habitat. I know the bowmakers may not be the main reason why the trees are cut (in the past most of the forests were simply burned to clear land for agriculture and later towns) but with high prices of certain exotic species these days aimed poachng of the trees for profit is real. How can you be 100% sure your piece of pernambuco is legally sourced? Same as with ivory... there is still so much "pre-ban" elephant ivory being sold in the US decades after the ban... some guys must have had warehouses full of legal ivory before ban OR... Even some of the "sustainable" lumber certification systems are quite questionable. They are likely more of a marketing product than real protection of forests.
  7. Assuming the top matched the ribs outline before removal you only need to carefully check the top overhang all around the body. Many makers clamp the belly dry adjusting overhangs (the top edge of ribs is quite flexible even when glued on the back) so the belly fits well all around. You can see the finish line around belly underside that suggests where the ribs were originally and also the pin helps with alignment. For gluing you remove several clamps in a row (10cm of outline or so) apply glue into gap using palette knife and close them back (always checking the alignment) and cleanup then follow with next section till your belly is glued all around.
  8. The correct angle of neck is measured from proper position of bridge on belly so you need to have it in place to fit the neck. The fact that the neck appears to fit the mortice perfectly doesn't mean you will have correct angle after you glue the top (even when assuming the neck was fit correctly before disassembly). Even if you only remove top from well setup violin you need to be extra carefull the neck angle will stay correct after gluing it back together so once the neck is removed it is much safer t glue the neck after body assembly. Difference between dry hide glues is generally (in order of importance) 1. hide species (which fish, rabbit, cow, or bones for bone glue) 2. gram strength of glue (usually graded only on cow hide glues) 3. clarity The shape or size of the dry granules (or whatever other form they have) doesn't matter much, only affects how long it takes to pre-soak it before heating. You can always grind dry glue to finer granules on coffee grinder...
  9. All my scrapers are from recyled saws. I cut them with dremel cutoff wheel. Make sure to dip the steel in water regularly during cutting to prevent overheating and remove every bit of steel that got too hot during cutting and shows bluing. The ccrapers I made from quality saws are excellent but some of the cheap saws don't produce very good scrapers (don't hold the burr very well). Perhaps they need some heat treating. BTW, what hardness would be recommended for scraper steel?
  10. The problem is that Strad and Gesu left much less work for us to correct. :-) And we know that much of what Gesu left is already done :-(.
  11. I don't think lignin will "reactivcate" and stick the compresed cell walls together unlike with turtleshell which can be laminated using steam and pressure. Lgnin will allow movement of cellulose fibers when heat/steam is applied and will set when the MC and temp is back to normal just like during bending but I supose here the straw-like cell walls of cellulose are crushed flat (assuming the compression is in one direction only). Perhaps the process uses longer heating/steaming that results into wood resembling torrefied wood which will not respond to humidity/temperature like fresh wood. I'm not sure if it holds generally bu I was not able to steam out dents (common guitar repair technique) in torrefied spruce I used few years ago. Fresh wood will respond immediately but this didn't move a bit. Side note: I wonder how much structural strength this wood has with all the crushed wall cells? They primarily compress to get density similar to ebony but what are the rest of properties?
  12. Of course for top level builders this is waste of tme thay could spend building their own instruments with much higher added value but for many luthiers fixing these more common factory (medium or low level) instrument is part of daily bread so if you have one on your table for some crack repairs and you see that generally the instrument is well built but the plates are way too thick (for whatever reason) to play properly it is not much work to smooth out the graduations especially if there's no need to remove bassbar and just thin the lower/ upper bouts. Unlike the master instruments these are not priced by name and those that play better will sell quicker and likely at slightly better price than their unadjusted siblings. I've got some experience with this working on mandolins ranging from cheaper imports to Gibson mandolins (in $5000 range) and you can get pretty predictable improvement in playability and tone in cases when the "factory construction error" is large and identifiable like extremely thick tonebars or thick graduations but the rest of instrument is generally made to decent standards (no weird archings, dimensions or materials).
  13. Is the washing really needed for oil that will be cooked into varnish? Won't the mucilage and water in the oil just burn/cook away while boiling?
  14. That would probably prevent the glue to dry or at least prolong the drying time considerably.
  15. I remember seeing a video on YT with reconstruction of original Strad or gesu neck attachment 3D printed from CT of original neck and head block. They used some nails to show how the parts would fit. Perhaps Carlson and Canone was it? I couldn't locate the video again. Predrilled hole would be a must or the neck root would crack way too easily with old hand forged nails.
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