JacksonMaberry

Understood. Great stuff! Very eager for some hi-def audio samples

Andreas, When I make my baroque boards, the ebony veneer is slightly thicker than 2mm. Probably easier than chalk fitting, but both ways work fine I'm sure. Also, it looks like you put an ebony cap on the bridge end of the board. That seems unnecessary, and might cost you as much as a gram, maybe two. A little India ink would have done the trick.

You'd think because it comes in a "chapstick" format that the best way to use it would be to smear it on the pegbox directly. However, it works much better if you apply it as follows: - dip a small brush in mineral spirits - stroke the wet brush on the dope until the brush is red with the stuff - paint the thinned dope onto the bearing surface of the peg and allow to dry completely. Put the pegs in and twist a bit before stringing up. Note - no quantity of dope, no matter how it is applied, will accommodate for a subpar fit.

Really, there is no need to be defensive. I believe your observations. Whatever you claim, you seem to have entirely missed the point of my post.

You misunderstood me. I was not accusing you of anything.

I think that's fair, to an extent. Everyone has their own peculiar approach to measurement and will tend to unconsciously fudge the numbers towards reinforcing their own biases. Objectivity is not known to be a human strength.

I am in total agreement

That's surprising to me, as I too have been made to believe that 18mm is really high for a fiddle. That said, my most successful instrument to date is made after Stainer with an 18mm belly.

So Koen was not keen on tanning, it appears.

Rub the cat briskly over the surface of the bass. Cat oil is known for it's preservative qualities.

Hey Joe, I don't get the Strad but will occasionally pick one up. What's the buzz on the September issue?

I don't know about Gene's system, but the Brown varnish is great. The color is from the cook, as far as I know. Nunzio's improved (read:cooked) rosinate varnishes are quite nice, especially the brown and yellow. I didn't find the madder orange very useful, and texturally less satisfying. His Amber varnish is excellent. Also on Amber varnish, Jim Bress showed me some of the Alchemist Amber, and I found it to be gorgeous. I have no experience with any of Joe's stuff other than a 20 year old tin of copal varnish, which is a work of art in and of itself but not what I'm looking for. I hope to try Joe's more current range soon. I've heard good things about oldwood from people I trust. Between the vast swath of really good, tailor made varnishes for luthiers and the better diy techniques, we're very fortunate.

In addition to Kremer, Natural Pigments sells nice oils - Walnut and linseed alike

Really good post... Until that last sentence

I think a simpler and more historical varnish would be one made of just two, naturally occurring ingredients: resin and oil.