ScotPiper

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About ScotPiper

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    www.spetzviolins.com

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  • Gender
    Male
  • Location
    Salt Lake City, Utah
  • Interests
    Violin making and varnish alchemy! Great Highland bagpipes, Scottish fiddle and dance music, backpacking, hiking in the desert, airplanes and aerodynamics, cooking really tasty spicy food, good beer ... that sort of thing.

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  1. I use 251 for everything except attaching the top plate; for that I use old 251 (ie. reheated too many times) and diluted. I use very dilute 192 for sealing prior to ground/varnish process. I find 315 gels too quickly. Maybe I need to experiment more.
  2. I have the Cremona Tools equivalent of the 101, and I find it useful. Linky: https://www.cremonatools.com/block-plane-stainless-steel-overall-length-90mm-blade-angle-45-6504.html I like to use it for trimming rib ends, shaping bridge faces, trimming linings to the ribs, assisting to shape the long-arch, and a few other things where it fits nicely in my hand. I'd get by just fine without it, but I find it comfortable for those things. But if I could have only one I'd go with the 102. The 102 can do everything the 101 can do, but the 101 can't do everything the 102 can do.
  3. Welll...... lacking any other information from OP, but calling on my own experience with alchemy, I'll offer this: For a time I was headed down an alchemical path that resulted in utterly brilliant varnish. Stunning color, shine, flare, flash, fame, riches, glory ... it was all there. Well, except it was water soluble even after it dried on the instrument. I won't disclose all the gory details, but it was fundamentally a Michelman / precipitated-particulate-pigment sort of process. The problem is that I left water soluble minerals in the final varnish because I didn't have a way to r
  4. If the reverse is true - that all instruments with a wolf are good-sounding - then I’m KILLING IT.
  5. Hi, Regina. I found these threads. Might be helpful. (Hint: use Google to search for topics on Maestronet, not the embedded search tool.)
  6. The problem might be that you're using geese? I dunno. Just a thought. </shrug?>
  7. I use tintul/tetul fittings quite a bit, but from a different source. They are light, look nice (imho) and the wood works very well (very rarely any tear-out turning pegs). I can’t say too much to the tonal impact b/c I use them on new instruments. (But my instruments sound amazing. So it must be the fittings! :-) I buy from Dov, who have a wide selection of fitting styles and chinrests. I use tetul finger boards from Dov, and those can be trickier because of the interlocking grain. But it’s hard wood and wears well. It’s not an endangered or unsustainably-cultivated spec
  8. Good question. If my understanding is correct, the organics will be the resins, dyes, and oils used in the varnish. But it won’t be pigment metals, such as aluminum oxides. Those metallic materials are inorganic, and won't be disclosed by a study of the organic materials. If anyone thinks that’s not correct please correct me - I still have much to learn about all this.
  9. Greetings, all. I wonder if anyone has come across this paper? I'm considering purchasing it, but it's not inexpensive at USD40. If any of you have this paper, I wonder if you can tell me how well the authors address the matter of added materials, such as repair and touch-up varnishes. Thanks, all. Bob Identification of organic materials in historical stringed instruments by off-line analytical pyrolysis solid-phase microextraction with on-fiber silylation and gas chromatography-mass spectrometry. https://www.sciencedirect.com/science/article/abs/pii/S016523701930
  10. Then watch them again. Davide's videos contain loads of information, and the more times you watch the more information you'll find.
  11. This is a massive topic, which has been discussed some on this board already. In my area (Salt Lake City) I know that makers have been hit hard by the drop in business, including myself, but repairers are doing at least OK. I've taken a second job in my "previous career field." I'm fortunate I can do that; the paycheck is dearly appreciated, but I sure do miss my bench time. I've had some time to do things I've long neglected, which is helpful in the long-run. I'd like to point out that Philip Kass is scheduled to discuss this topic at the virtual VSA convention, on Sunday the 15th
  12. Amati Auctions make the Amati Box, which is a brilliant solution. I inquired some time ago about purchasing boxes, and the price of the box was very agreeable (ordered in multiples of 10, I think). The cost of shipping the boxes to me (western USA) was incredibly high and made it not worthwhile. I quite like Davide's solution.
  13. I keep rotating my phone side-to-side to make the reflections “walk” back and forth over the arches. It doesn’t work. Thank you, Don. Those clips are very helpful!
  14. Hiya, Dominik. I colored the varnish using pigments (usually) or dyes (less frequently). I make my own pigments using madder and walnut, and other stuff I used Siam seedlac and WW-grade colophony, which is quite colorless. I experimented with cooked colophony, and if it wasn’t over-cooked it was soluble in ethanol. Cooking didn’t add much color to the final varnish, and it still required pigment.