Michael Szyper

Members
  • Content Count

    412
  • Joined

  • Last visited

About Michael Szyper

  • Rank
    Senior Member

Profile Information

  • Location
    Munich, Germany

Recent Profile Visitors

1245 profile views
  1. Second that, plus a good scrub plane! It is one of the most undervalued tools. I use it also for rough arching, takes 2 minutes to get a decent ‚starting shape‘.
  2. Glazes may look nice on a pristine varnished violin IF applied uniformly, which is quite a challenge as stated by Michael Molnar. Be careful not to use glazes if you plan to make an antiqued violin, the best result would be a pretty “faked” look, the worst a desaster.
  3. So you don't think he ever used templates as we know them today? Just my 2 cents: I used to work with templates only for my first few violins, and my workshop is virtually full of them even if I don't use them at all since long ago. So I would assume that Stradivari should have had hundreds of arching templates (most of them just for experimenting). Since almost every corner template survived, why there shouldn't be one single arching template? Of course the fact that no template survived to our knowledge can never exclude the possibility that he actually used them.
  4. 1. Most common: not properly filtered 2. Often the highly fugitive solvents make bubbles because of a too fast evaporation. Add a slower evaporating solvent, for example spike oil (a tiny bit is enough) or lamp oil. 3. Worms due to not sufficiently washed linseed oil. I would use a good quality oil and wash it properly
  5. The nomex is a synthetic, flexible material arranged in a honeycomb structure. Usually you make a 3 layered sandwich, in guitar making 0.5 mm spruce, 2-3mm nomex, 0.5 mm spruce. Nomex is quite flexible due to its net structure, so I already thought about possible solutions. One could make a normal top with a 0.5 mm thickness, leaving the ff and edges regularly thick, fill it with nomex. For the inner layer a chalk fitted spruce, bent spruce or any other material like cardboard could work. This should be the most difficult part.
  6. Another idea (and maybe a lot easier than bending a plate) for increasing the cross- to longgrain stiffness would be the use of a nomex composite top (like one of the most successful guitar luthiers Matthias Dammann). The result is an incredibly increased stiffness/weight ratio, but also with a shifted cross/longgrain stiffness. I once thought about making such a violin, but i expect the result to be far beyond what we know from (torrefied) super light wood or balsa: Brutal power and pretty nasty sound. So far i didn’t get to know a good player who would accept that.
  7. Does anybody know for how long the “Chardon” is displayed? It seems to have a more intense red than the messiah. This could be of course because it was like that from the beginning, another possibility would be that a lot of the cochineal and other light-sensitive reds have faded on the messiah. Generally the chardon shows me one thing: The varnish job is a lot cleaner than the rest of the violin. Looks like the finish and varnish job could be made by a different person, maybe in a varnish shop. Look at the guitar making tradition in Granada - almost nobody varnished their guitar by himself 20 years ago. There were plenty of French polish shops around, which even did the final sanding.
  8. Very nice color Michael, seems to be the perfect counterpart for any golden colored stain.
  9. They probably didn’t use arching templates at all.
  10. I would strip it with a white spirit / alcohol mix and revarnish it, no matter if you have to redo the ground or not.
  11. Spent the weekend in Paris and could not resist to visit the Alard del Gesu. Please excuse the exceptional bad photo quality, but for the texture and some details maybe better than nothing. I have to admit that it is very bad displayed, you can’t view it from the sides and the front is way too far away.
  12. There is even more explanation needed. The alcohol (4i) is evaporated. No solvent residue is there. Propolis would precipitate, if there is no other solvent. Which other ingredient in re 4i do you detect to keep the propolis soluble after the most of the ethanol is gone? I assume that 4ii is an emulsion (Tween 80 is an emulgator which enables water to act as a solvent for propolis, it is not a primary solvent ), but we can't know because of the heterogeneity of propolis. This side experiment was used because of the difficult mycobacteriaceae culture. I was not referring to this part of a fluid medium experiment. It is interesting, that you are not mentioning biofilms, which are the reason of bacteria surviving in pretty dry enviroments. If there would be no bacteria on dry surfaces (as you claim) I could save thousands with stopping all surface desinfection measures in my medical practices. This discussion in my opinion has gone beyond the point of constructiveness, therefore I'm out.
  13. 4) please read the m&m chapter of davides study, ethanol evaporated before bacterial incubation, here we are again, what is a fine dispersion of an insoluble agent? 5) for non-water soluble agents water as a reacting medium has no relevance, it just influences bacterial growth. So you claim that wood and air are water free = EMC 0%? Wood impregnating therefore is useless, because a) there is no moisture in “dry” wood and b) impregnating substances do not react because it is “dry”?
  14. 1) obvious 2) correct 3) I know what MIC and MBC is, this has not much to do with your argument of propolis being too diluted % is just a relative ratio. This applies to vol% weight% and weight/volume. For an easier understanding, % is -no matter if you use weight per volume or weight % - exact enough 4) The first citation you did was not a dilution in water (propolis isn’t) but a colloidal suspension, which is a different thing 5) are you really claiming that dry coatings have never bactericide effects?