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Luis Martins

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About Luis Martins

  • Birthday 08/22/1972

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    Acoustics, music composing, plasma gasification

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  1. Anyone got stopped at airport security after applying ground?!?
  2. For those who haven't experienced working with a CNC, please note that machining a piece of metal to exact specifications is a hard job. Making 2 metal parts within 0,01mm requires an extremely well controlled environment with lots of tool cooling and in some cases it's virtually impossible to get the intended resultados with other methods than electro erosion. Wood isn't as stable as metal, specially soft woods like pine, so the idea of getting systematically identical pine parts out of a CNC seams an herculean job, and a waste of time and raw materials. I'm sure @Don Noon experienced several difficulties "just" by making molds to exact measurements and probably had to fine tune everything to get them right. Final scraping will always be needed and artistry will come in play. Sorry for the long comments, I'm obviously not a great writer
  3. I'd like to add that art doesn't necessarily has to be handwork. And aesthetic changes can easily be performed on pre made CNC parts.
  4. My point of view is simple, CNC is the same as a band saw, mini drill, or any other powered tool for that matter. They are just tools that might help you do a better and faster job. You can build 500 identical tops with a CNC and all will have different accoustic results since no 2 pieces of wood are the same and there are so many others variables involved. Some of those variables, like temperature and humidity, are present even while cnc'ing. The end result will be set by the person finishing and doing the final tweaking, and not by the means used to get there, unless you're expecting a finished CNC part without further handwork.... But that's just me...
  5. You have no idea how much I'm laughing right now!!! Has anyone tried with one of those machines that chop trees down and remove bark?!!!!!! Sorry @Goran74 but these moments are priceless
  6. Genius at work @David Burgess. That's brilliant!!!! Can you do it with a chain saw too?!?!?
  7. That's my opinion too. I do prefer when there are not two obvious layers but some sort of blending between the varnish and the wood. When looking at your photo, Philip, I see two clearly defined regions of different reflection/refraction index. This gets more obvious when varnishing an extremely smooth surface, like applying varnish to glass if the refraction index isn't close you get a milky or cloudy result. When I compare to @Jim Bress photo, the varnish goes with the wood texture, instead of sitting on top of it, as when you apply some varnish in a frosted glass it suddenly becomes almost clear and more interesting than before... This is really hard to put into words!
  8. It's extremely difficult to photograph instruments, specially when the surface of the varnish is mirror finished, a large percentage of the light reflects on the surface of the varnish and obscures the wood.
  9. In any case, the eventual criticism might not be related to the viola itself, but in artistic choices. On another matter, do you have instruments being played here in Portugal? I'm quite curios to see, and hear one of yours live. Your photos are always absolutely beautiful, so I can only image how can the actual instruments beat that. And I'm sure they do!
  10. The milky might be considered a negative aspect. Like some frosting on a window glass, it might look great and protect effectively the objects behind the glass, but if you want the see the objects, or in this case, the beautiful detail of the wood itself, any milkiness might be undesirable since it doesn't add anything except opacity. The varnish goal, as I see it, besides offering protection, is to enhance the natural aesthetics of the wood. Most, if not all coloring agents, turn the varnish opaque to some degree, and the challenge is to keep it as transparent and possible, and as blended as possible with the wood as if it was naturally part of it. I've seen a few excellent examples of this but the best way is by holding the instrument in various positions in daylight and pay close attention the refraction and reflection and how they combine to enhance the texture of the wood.... It's like any gemstone, there are colored but still transparent, and colored but not so transparent...
  11. I assume the Viola isn't yours (Just kidding) Congratulations! (Now I'm not kidding)
  12. My guess was German(ish) because I have one here that looks quite similar... But has "made in Germany" on the label The pictures don't help that much indeed...
  13. No expert, and the skewed photos don't help too, but looks German(ish) 19xx. Check the topic on how to take pictures of the instrument and post them here. Also, check for corner blocks on up and lower bouts.
  14. Hi Maestro! Greetings from Portugal. Me and my wife are already missing Cremona, you Maestro, and your exquisite and beautiful works of art. That deep crystalline ruby color of your violin is still engraved on my brain... They are on to a really long and difficult journey. Putting up a library like those is really difficult, and capturing the essence of a particular instrument even harder... Let's wait and see what they come up with. Nevertheless, great marketing!
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