HoGo

Members
  • Content Count

    783
  • Joined

  • Last visited

1 Follower

About HoGo

  • Rank
    Enthusiast

Profile Information

  • Gender
    Not Telling
  • Location
    Slovakia

Recent Profile Visitors

1544 profile views
  1. I wonder if it is worthwhile to build such complicated rigs to measure the frequancies and still not knowing what it will sound like until the thing is finished and strung up. There is one mandolin maker who uses a simple rig consisting of dummy rim and neck to which he attaches top and back (he uses extra overhang and tiny screws into oustide lining) strings up and he can do adjustments after playing by simply removing the back and reworking interior. This would show results much closer than any theoretical rig for measuring frequencies. I myself string up instruments in the white and do some adjustments to thicknesses from outside (though it wouldn't be hard at all to do them on the inside). That was really eye openng thing in my building (of mandolins).
  2. They want to look like they know what they are doing. :-)
  3. I'd guess the aluminum acts as heat sink and shortens the time for measurement. On wood you would have to wait longer and also every piece would suck some glue at different rate so aluminum foil makes the measurement more exact.
  4. Agree, I see that so many folks who never worked with CAD or CNC have the strongest opinions. It's not like "Barbie dreamhouse" - you press a button and violins start coming out of the machine you just bought. Don's and Gaigenbauer's words are very valid. They know what they are doing Both with handtools and CNC. The work of best hand makers is truly spectacular and you would be hard pressed to find tool marks and defects of workmanship even inside the box (just see the Davide Sora videos).
  5. How did you hold the plate during rubbing? I prefer rather small vice with 10cm wide soft rubber lined jaws that don't tend to cause twist in the half held but I always check the fit with one half in the vice. No rocking or any sign of gap. I glue much like Mr. Sora and add clamps. I like to do a very light sweep of sharp cabinet scraper along maple joint before gluing and apply tiny bit more pressure in the center. This cleans the surface for succesful joint and perhaps adds some of the concavity mentioned above. I use standard (~190 strength) hide glue that doesn't contain as much water as the higher grades when prepared. I test offcuts from ends for joint strength - hit them with hammer and see if the glue separates or it just breaks through wood.
  6. You're not looking in the right direction. The joint must be not only strong but also closed all along the plate and that's what the clamps are for... You CAN do the rubbed joint without clamps but that requires lots of experience. There are many things that can go wrong even holding the one half in vice can deform it enough so the joint won't close perfectly. Experienced worker has feel for these details and will get good results. The clamps are there not to squeeze the s#!t out of the joint but to hold it closed while the glue dries. You must be aware of all the forces you are inducing. I would suggest cutting "steps" in the plates at the very ends some 3 cm ffrom joint so you can use simple C clamps at he ends and not clamp on thin edges of plate. These will ensure the ends are well closed. You can add one light clamp in the center (and you can cut out wood in the bout for that as well). I did this for bass top I was joining years ago and often do it for mandolin plates as well.
  7. 54% is typical for home made distillates here in Slovakia, tough these days the distillation is left to specialized companies that also colelct taxes but many still do it at home. Especially from plum (slivovica) or other fruit. If you ever visit someone who brews that you will be certainly served with a shot r two.
  8. BTW, why don't you use sme modern glue? But with such long pieces the glue will not hold alone without reinforcement with string or such.
  9. What about charging some fee for storing the instrument after some reasonable time after repair, like some repair businesses here do. So if it won't get picked up you will charge $20 (or any reasonable fee) a month and after some time the owner owes you enough to call court executor...
  10. You should read through the older thread that mentions additives to hide glue that make it pretty water resistant. Perhaps it will work with casein as well... (like formaldehyde does) Worth reading (especially to the 3rd page) I read in texts that the base used to mix casein has effect on water resistance. You may try borax or other stuff from books...
  11. If you already removed 1.5mm the fingerboard may be too thin to save now.. Had I found such tiny crack in ebony fingerboard (which is common in lower quality of ebony these days) I would just flood it with CA and perhapds tiny bit of ebony dust if there was any noticeable empty space and follow with whatever setup procedure the instrument requires. CA and ebony dust repairs have been used on guitars and mandolins for decades and it will be almost invisible and hard wearing.
  12. But paper is not wood... try to wipe a drop of oil from your table with a wood shaving and piece of paper. Paper wins every time. Teh microscopic structure of paper is completely different and so is its absorbtion of liquids.
  13. Will it change when still in bottle? My bottle is just over 20 years old... My maple scrap tests looked much like AD's. My oil is just cooked with lead dryers. Slightly thicker than raw. Virtually every old woodworking book (60 years or older) here suggest layers of "linseed oil varnish" as base on raw wood before painting. In this case the "linseed oil varnish" is product called "fermež" here and still produced by local companies (they have produced it forever) and sold in most paint stores - it is basically boiled linseed oil cooked for slightly thicker consistency and it tends to suck oxygen from the soft plastic bottles it is sold in and any spills get rubbery over night or two. It was also used by old school plumbers for sealing steel tubing threaded connections together with hemp fibers (before the teflon tape or floss came to market). No bottle ever showed contents other than "fermež ľanová" which loosely translates into "linseed oil varnish" but it is certainly not varnish it tends to soak in if applied heavily (or diluted with naphtha or similar as sometimes suggested) but n thin application it stays mostly on top surface... I will make some fresh samples when I get out of this CORONA prison...
  14. And there are different kinds of linseed oil. Raw, boiled, sun thickened, washed, standoil and many other prepared versions. My own experiments from many years ago were with raw linseed gently cooked with home made lead oxide/acetate as a dryer. The oil thickened a bit and some of the dryer accumulated on botom of jar. After seeing similar thread year or so ago I tried jut to rub a layer of this oil (which is still liquid after almost 20 years in the closet) with finger onto piece of maple and let it to dry. To my own surprise it dried overnight to satin smooth wood without noticeable layer on top and after carving into surface it didn't penetrate to any measurable depth (that was without exposure to UV or natual light as my workshop is in the basement with small window facing north). I didn't try it on spruce but from my limited experience maple often sucks substances much deeper than spruce (e.g. when sealing endgrain of billets). If you don't leave thick layer and just wipe on-off then it won't penetrate anywhere, Just stays in the uppermost layer of cells. Another similar experience was with my first fiddle I bought - it was stripped and badly sanded and I pulled out a bottle of semi-solidified tru-oil (not a clear linseed but based on it) and just wiped the jelly on and off till the whole surface was nice and smooth. Left to dry for few days and it created nice base for next layers of varnish much like the oil above (I believe I experimented with the glazing method with artist colors).
  15. That may be correct. I remember I saw some studies done on rabbits that show that presence of NANO2 in blood and application of UV causes relaxation. Relaxation is typically result of presence of nitric oxide as product of NANO2. But what does the rest do I have no idea.