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    Salt Lake City, Utah
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    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. The OP’s question has piqued my curiosity, but this thread is really going down hill…
  2. That's quite interesting, as well. Lots of information on that page. Thanks, Doug.
  3. Ah ha!!!!! To the Instagram I go! Thanks!
  4. Thanks for looking, Doug. I searched best I could and didn’t find it on MN, either. Maybe I didn’t see it on MN in the first place. But I thought the yolk was unusual and wanted to have another look at it. Well, the search continues.
  5. I recently saw a video of someone making an egg yolk emulsion (with linseed oil, also possibly varnish, and a particulate ingredient). I'm not able to locate it again. I don't know if it was from a thread on Maestronet or if it was on someone's website. Has anyone else seen such a video? If so, can you please point me to it? Thanks for your help.
  6. Item is sold. I’ve got a Herdim brass violin peg shaper I no longer use. Standard 4-hole model. I’ve used it in the making of about fifteen violins. I’ve also got four spare blades, but they’re not the double-edge blades that come standard on the shaper. These are single-edge, but they look like they’ll fit just fine. Asking $75 for the shaper and blades, plus $10 shipping in the US. Or make an offer. Reply here and/or PM me, please.
  7. To me it looks as though the arc of the bridge is in the wrong side. (I like how that’s the only thing I can bring myself to say about it.)
  8. No kidding? I used T&T back when I made boutique furniture, particularly on things like burled table tops. Cool! I (virtually) know the guy who created it! Sorry to the OP for the hijack. OP: when mulling pigments into varnish, I grind a small amount of it dry (very slowly and carefully, and wear a mask) for a long time (10 mins). Then add a little varnish, a little turp, and mull more. I always have a straight-edged razor blade to scrape the mixture back into a pile and then mull more. When mulling dry, do not, under any circumstances, quickly drop the muller onto the glass. The dry pigment WILL shoot out from under the muller and you’ll lose your hard-earned pigment.
  9. 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.
  10. 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.
  11. 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 remove them. Most likely, the water soluble mineral was NaCl because I used sodium carbonate and calcium chloride to make the pigment (one of the products of that reaction is sodium chloride). Anyway, the OP might look at the reaction equations to determine what water soluble minerals are left in the final product, and then figure out how to eliminate those minerals. (Edit: I just re-read the OP's post, and I feel obligated to disclose that I'm not an Expert.)
  12. If the reverse is true - that all instruments with a wolf are good-sounding - then I’m KILLING IT.
  13. Hi, Regina. I found these threads. Might be helpful. (Hint: use Google to search for topics on Maestronet, not the embedded search tool.)
  14. The problem might be that you're using geese? I dunno. Just a thought. </shrug?>
  15. 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 species, and I that’s important to me. (I have no financial interest in Dov.)
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