Jump to content
Maestronet Forums

Deo Lawson

Members
  • Posts

    170
  • Joined

  • Last visited

Everything posted by Deo Lawson

  1. Some schmuck with a violin that's taken on prints will stumble on this thread, try that and be left with a white violin. Anyway, ditto on the lavender oil.
  2. The one time when poly is acceptable on a violin?
  3. Personally I found it very easy to manage the bridge curvature. The hardest part is learning that going all the way up with the right hand does not land me on the G string...
  4. Generally it's 2.2-2.4 in the cheeks. In the very edges it's thinner, and thicker towards the seam. At the very centre it goes up to 3.7 or 3.8 I think. I have made yet another bridge, looking at the one that was posted... With a much lower beam and more distance between the cutouts I've got the tone from piercing to just nasal. Still pretty mid-y but I'm optimistic that the bridge can still bring more sound out of this instrument. Maybe I'll post some photos later.
  5. The top is actually a little on the thin side, save for the very center. I'd like to explore the bridge and sp before tearing it up for any big changes
  6. Bit of a late reply but: It doesn't take water at all. I can't remember if it can be flamed... I don't think I tried that. You can burn the ends like normal though. It was so stretchy that flaming wasn't really needed.
  7. Hey everyone, To accomodate the extra string the bridge is a bit taller than a standard violin... actually I hope the neck drops some because I feel I overdid it a little. The body is also little bit wider overall. Anyway, I've already made a couple bridges but the results have not been satisfactory. I've been getting a very dry bass response with piercing midtones (1-2kHz). The E string especially gives the impression of an icepick in your eardrum. Surprisingly the C string sounds the best right now. Does anyone have experience with balancing 5 string tone?
  8. Generally polishing spirit varnishes has not been satisfactory to me. I think the way to go is to take down the bumps and dots with fine abrasive and then French polish.
  9. Drill the hole and cut the slot with a piercing saw, then clean up with a file. This just happens to be what I had on hand.
  10. I have used it. It was not hard to get a nice ribbon and works pretty much like normal hair. It was, however, exceedingly difficult to enjoy playing on it. It felt like trying to run on ice.
  11. Advertised for restoration? I'd advertise it for a community bbq.
  12. Ok, cool, I'll leave it alone. It's not that bad. I can dent it with my fingernail, and then the dent will vanish after a while. My guitar doesn't seem to mind but it does make me cautious about where I set the thing down
  13. I am more novice than you, but I used the vernice blanca recipe for a ground coat and I quite like it. It dries fairly hard and doesn't mix with the varnish, but everything sticks to it nicely.
  14. To the contrary, I have a feeling jt could be done. That said, this technology has been developed specifically with the human voice in mind. It would definitely have to be tweaked. And who would spend the time?
  15. Cause I'm dumb In the end I did naturally, but at the time I didn't know turpentine was necessary
  16. Hey all, I've got some amber varnish I made a while ago. When I cooked it, it was my first foray into oil and I was put off by how thick the varnish became when it cooled. As such I heated it back up and added some more linseed oil. Now I realize it's a little too soft when dry. I wonder if I could cook some more amber into it to make it harder. Or is it possible to overcook varnish?
  17. Thanks! Good stuff; I'll save all this. I did consider a solid body but that's really not my "thing". My aesthetic is definitely all acoustic instruments with electric frills, not the other way around.
  18. I'm flirting with the idea of building a 5 or 6 string acoustic / electric violin. The music I write and play is a sort of hybrid between new and old styles and I find pure electric violins lose too much of that quirky old school flavour that I love. So right now this means switching between violin and viola with pickups tacked on, depending on what range I need. How nice it would be if I had one do-it-all axe for taking solos! Anyways, besides the obvious differences in width, what other important considerations are there in building a 5 or 6 string? I'm interested in plate thickness, weight, bow angles, playability, and so on... I'd appreciate any opinions. (I don't really care about projection on the low strings, though. I'll always have a mic or a pickup.)
  19. Deo Lawson

    Bridges

    That action is fine. In the lower positions the difference will be so miniscule, I don't know that a self-described horrible player would notice a difference. If you feel the action down there is unacceptable, I would take a look at the nut. If it's purely an intellectual concern... just leave it be. Practise your scales.
  20. Just make the feet flat and glue some blocks on there. Then cut to shape. Nothing blasphemous about that, to my knowledge... except that it's a bit ugly. But it works fine
  21. I do a basic slip knot. It forms a big enough knot that it won't slip out of most tailpieces (definitely not baroque style ones). I have never had a string come untied in all my days using gut. To soften up the gut you can curl it around a hard edge, like the spine of a knife. Only do this to the part you're tying, obviously.
  22. Do not put tea and iron anywhere near eachother in the making process, unless you want black chicken pox all over your instrument. That includes steel wool. I've never stained any darker than a light gold with tea, but that was just straight black tea with no additives.
  23. Be careful with the dust. Ipe is one of those especially irritating woods. Fun fact: it's naturally fire-, water-, insect-, and fungus-resitant. A possible marketing angle for military grade violin bows?
×
×
  • Create New...