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Deo Lawson

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Everything posted by Deo Lawson

  1. Bigger soundpost and forget about it? You could restore the shape of the top with weight and hot steam, possibly. But have fun regluing the centre seam after that. Maybe someone else has some secret for this that I'm unaware of. Anyway, you'd have to post photos.
  2. Is it not possible that the black spots are the result of a chemical reaction? That would explain the difficulty in removing them. There is a process to blacken wood, wherein you dissolve iron in vinegar and apply it to the wood. It creates a blue-black colour that sinks in really deep. Sometimes if there are pieces of iron on the wood, it can react with a liquid to create little blue spots. I learned this when I used steel wool to polish a bare-wood viola and then tried staining it with black tea. Pretty much had to do an "antique" style finish after that.
  3. Just buy the one that looks the nicest. You may well hear a difference in tone, but the audience certainly won't. They will see how nice your violin looks, though
  4. I prefer Aquila strings because they don't fray nearly as much. They have a different construction from Gamut strings (which are not only more expensive but seem to grow hairs right out of the package). I love the sound of both brands but Aquila just has that durability advantage. Oiling your strings will help extend their lifespan regardless of brand. Walnut or linseed oil are preferred because they "dry" with time. Just be sure to wipe the excess away from the bowing area. If you are still willing to experiment, Gamut offers a gimped D string, meaning a plain gut string with wire wound into it. I haven't tried it because of the cost, but it is thinner for the same tension and supposedly has a snappier sound whilst still retaining that gut tone.
  5. - The back flame does not continue to the sides, at least from what the photos show - The ribs and neck are for some reason not made of the same maple, but ordinary wood with weak flame - It just looks fake I still say fake.
  6. Personally I just find waste abhorrent. Why should junk fiddles exist in the first place, for us to turn into abominations of raw creativity? A tree had to be cut down... Tools had to be made and mouths fed... The time and effort of dozens or even hundreds of people had to come together to create this useless thing whose only purpose is to be put in a washing machine. I guess the art is just the front for all that hidden waste which is why I suspect a lot of people feel the way I do. Not to mention it spits in the face of what past people considered valuable. Sometimes that can be OK but a lot of people don't like that either.
  7. Welcome to the cultural endgame. First we had Bach, then Mozart, then romantics, then jazz and rock, and now we just gave up and put our fiddles in the wash
  8. *Sheesh*! That is a bass only a maker could love.
  9. It looks a bit bright to be wenge, but there are other woods with the striped grain pattern. Look up "partrigewood" (a species, but also sort of an umbrella term, like "brazilwood").
  10. No, definitely not common. Extremely expensive and endangered, in fact! I had the chance to purchase some wenge boards from my old place of work at a discount. It is very hard wood, but brittle and with openings in the grain. The main reason to use it is that beautiful pinstripe pattern.
  11. Depends on the density of the string. I'd say as far as synthetics go, that's a quirk fairly unique to FM. But with gut strings for example, the plain gut D string is usually around 1.00 to 1.18mm, while the G string might be around 0.90mm. A jarring difference! Same goes for nylons on a classical guitar.
  12. My uneducated guess is that it's a result of later scraping and not the original intention. My intuition as an amateur maker is the the plates should be thinner all around the edges and heavier towards the middle, just like a speaker. I feel that makes more sense. Then again, I'm a nobody. I'm also interested to hear other opinions.
  13. Honestly I think handedness has little impact on playing any instrument. Violin is hard no matter which way you turn the darn thing! Interesting to see though.
  14. I believe he means when the wood alternatingly swells with the flames; so the light parts are higher than the dark parts and the wood has a bumpy texture. This does happen when I soak but it's so minor that it disappears when you do the final sanding.
  15. I just bent some highly figured maple ribs for a guitar. After soaking 1 hour totally submerged in water they bent problem-free. I don't see anything wrong with soaking...
  16. I'd just flatten the existing surface so I could glue on a new piece of wood, and carefully shape it post-gluing.
  17. Are you asking how to apply a shellac ground? Because all you need to do is make a thick cut with shellac and alcohol and rub in a thin layer. Pretty much nothing will mix with shellac in my experience, unless it's alcohol-soluble.
  18. Yeah, but there are all sorts of people on here too. I imagine it would make the sound brighter, more powerful, and a little thumpy. Less sustain? Perhaps such a guitar would be better suited to playing unamplified in a large space. I'm tempted to try, but if I don't like the result then getting the top off to install treble bracing would be a nightmare...
  19. I am not close to finishing my archtop so it will be a while before I can test this for myself. But is there a precedent for guitars with a soundpost (and I suppose bracing only on the bass side)? Since the design is inspired by the violin family it would make sense to borrow the soundpost as well, yet there's no mention of it anywhere.
  20. Bahaha, I seem to be getting pretty nice colours in my tests. Is "wrong" whatever doesn't make your eyes water with its intensity?
  21. I have an assortment of lakes, I just wanted something to add more "pop" to my red-browns. Red carmine is quite a colour... and though it's not what I intended I'm quite fond of my violet too.
  22. You miss the fact that some of us don't care what is efficient and modern. I do this for the novelty and fun of using historical methods (and the necessity of whatever instrument I don't feel like buying) Anyhow, diy is still cheaper than kremer...
  23. I especially love the "Eye of Sauron" scroll.
  24. I considered using powdered aniline dyes for a shellac finish but found them expensive. I also have an instrument on which the rear plate is colored by hardware store wood stain sandwiched between layers of shellac (not my doing!!!). It looks surprisingly good but doesn't have the deep, raw texture of traditional varnish—rather flat. Does that count?
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