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JacksonMaberry

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About JacksonMaberry

  • Birthday 04/26/1989

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    Varnish and varnish accessories, historical performance, early instruments

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  1. Definitely agree with that. And you're right, if you're purfling free plates it's another story. Edit- one think I like about the model at international (at least I think it's the same from the small, blurry photo - mine is from sai gao originally) is the depth stop. But if you're not using it to cut to depth -and have modified the blades to accomplish that - not a problem.
  2. Interesting! It wouldn't be possible to set this one up such as the vertical rod is bearing against the edges of both plates due to the knurling. That takes away the advantage of this style of marker, in my opinion, which is being able to hold it underhand very close to the action and having the two-plate-edge stabilizing contact.
  3. The similar unit sold by International Violin is better in my opinion. Only the blades need to be modified for it to work well.
  4. I've always preferred a very small chisel - I agree that the "picks" are not all that intuitive
  5. No, I am not referring to the ibex style cutter, which is held from above. I have never been able to make those useful for more than marking, and I don't even like them for that. But many people have done just fine with them, so ultimately it's a matter of preference. Whatever works!
  6. Those are nice! Reminds me of something Hargrave uses. I'd argue that the well made older "French" markers cut beautifully - but not as they come out of the box. Like all tools, they must be set up properly.
  7. Saw that too, Michael. I have an old tool that this one appears to be a knock off of, and the blades being shaped correctly is what makes it work. As you say, single bevel. I'd add that sharpening both edges and using a rounded "spear" profile is useful, so that it can cut on both the push or the pull. This allows you to take fiber orientation into account. Using the tool set up this way, along with the included depth stop, allows be to cut the entire purfling channel with the marker itself, rather than switching to a knife, other than in the corners.
  8. +1 for the figure eight knot. It's very unlikely to jam and easy to tie.
  9. It is free on Google books in the US, but I don't know what EU laws are like. Message me if you like and I may be able to assist
  10. Beat me to it, thank you! Strongly recommend it to everyone. It's not necessarily the last word, but it's definitely useful and a fantastic leaping off point!
  11. The Bible - JG McIntosh's three volume work "The Manufacture of Varnishes and Kindred Industries". Volume 1 is entirely about drying oils, 2 is about resins and oil varnishes, 3 is about spirit varnishes. It's a critical read as far as I'm concerned, and represents a comprehensive view of the state of the industry at the close of the Second Industrial Revolution.
  12. Joe, your notes are probably a lot more dialed in than this, but posting it just for interest.
  13. Full disclosure: like Joe, I am a manufacturer of instrument varnish (the Dr. J.G. McIntosh line of products). First, I would be hesitant to emulate the violin you posted images of. It is not unattractive, but what's going on there doesn't have much to do with traditional 16-17th century Italianate processes. Second, while the Joha products are inexpensive and relatively user friendly (relatively is the key word - varnishing is difficult), they are not what I would consider excellent finishes. Third, if you are seeking to use historically informed violin varnishes of an excellent quality, you should strongly consider Joe Robson's products. He is one of the most knowledgeable people alive and is very generous with his help. The customer service you get when you invest in his varnishes is excellent and is the standard to which I strive, myself. Lastly, if you are interested in the optical properties of rosinates, my varnishes might interest you. General tips: Develop color and contrast in the wood itself. Tanning is a common way to do this. Consider a ground/sealer that is oil-resin or strictly resin based. Proteins work for a lot of people, but their hygroscopicity and lack of good evidence for their historical use in old Cremona give me pause. Experiment heavily with application methods on scrap before committing to your instrument. Have fun!
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