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  1. Thank you all for your answers. Mr David thank you for the suggestion. I know the book but did not have pay attention to that varnish. Mr Giovanni, thank you too. I know Michelman s recipes. I have to say that I admire him as researcher, even I am not fan of his recipes. Why do I have to convert the resin? Last days I was thinking the known Marciana varnish, with just melting the ingredients, and adding drier - Pb3O4. That means: Raw linseed (just washed), colophony (pine), mastic and Pb3O4 (or another type of lead oxide). Then I can add some color (dissolved in turpentine). So, the use of heat would be minimum, without fumes etc. Question is how much drier should I add. Once, a Marciana bottle I had, some way became solid in 3 days. Such way, I solve the problem with fumes etc, the problem of drying and the problem of color. Such way I see no reason to cook the varnish for hours and turn the resin black.
  2. Hello, I would like to know if there are especially colophony varnish recipes that do not use heat (for us who live in cities and apartments). Possible solutions will be with alcohol or distilled turpentine. I cooked many times varnish (colophony, linseed oil etc) but smell, smoke are too much for neighbors (and wife). Linseed oil can managed just by washing and sun. Thanks
  3. First of all thank you again. I have the Henderson s book. I tried something similar but is not working (or it is working but not as perfect as a pro bow needs). These tools are good but their price - "better make your own".
  4. That is great. Congratulations. Many thanks Mr Dorsey. (I made a lot of holes just a drill and the stick. It is a matter of experience. After opening some tenths of holes, it is not so confusing. After the drill and stick (at straight line plus a good experienced eye) there is the option of the lathe.) Please, can you give an advise on making the nipple without purchasing the nipple cutter that costs a lot of money? I managed to make it by files, but wonder if their is another option. Thank you
  5. Thank you for your answers.
  6. Thank you for your suggestion. Back was deformed and corners were open. Also needs new fingerboard.
  7. Mr. Saunders thanks for responding and I express my respect to your words. The back was open in the most parts and deformed. It is from late 19th and I know the bar is carved. I was thinking if it has any sense to make new. The top is badly carved from the inside. The rib corners are open too. Linings are bad made too. Some are unglued and some very bad cuted.
  8. Hello, I opened the following violin (I decided to restore it). It seems that is built on the back (the fast way - no mold). The back was half opened so that s why I removed it first. The violin has no damages on front and back plates. I understand that it was a cheap, fast made instrument, but I think I can do something better for it. I want to replace all the linings that are badly cutted. Do you thing I have to add corner blocks? Also, would it be good idea to rebuild it on the back, or to begin by gluing linings ribs, glue the back and then open the front? (the neck is glued with epoxy as I examined, and it will be hard to remove it too). I want to make new block at the base too. It does not have good contact with anything. About the bass bar.: I will cut of the kind of bar that has. But, do I have to add a modern one or to make shorter (close to baroque size)? <IMG/>
  9. Yes. Making a new frog without underslide.
  10. Dear Mr Jerry, first of all, thank you for the invaluable 'lesson' you provided here for free. Secondly, I would like to say that French, especially transitional bows without undersides, have not such a deep chanel and 45° angle like modern bows. My biggest difficulty on frog was to make a chanel without underside, and make it perfect, without cracking the edges (no CNC involved) . All the times I was using CA glue at the end to fix some scratches etc. After Chisel I was using files to straighten the surface. If we use only hand tools, what is the best way to open the underside chanel the perfect way, before silk and glue treatment?
  11. Thank you all for your answers. It was clear for me.
  12. Please Mr. Jerry, I would like to know more on that type of reinforcement. Is it a kind of gauze/cloth sticked with glue (hide), like sometimes inside the thin violin plates? Or you use cyanoacrylate straight to ebony for reinforcement? Thank you
  13. The known cut of the violin woods is the quarter and slab cut. https://www.google.com/imgres?imgurl=https%3A%2F%2Fmedia.springernature.com%2Flw785%2Fspringer-static%2Fimage%2Fchp%3A10.1007%2F978-3-319-92796-1_5%2FMediaObjects%2F340640_1_En_5_Fig27_HTML.png&imgrefurl=https%3A%2F%2Flink.springer.com%2Fchapter%2F10.1007%2F978-3-319-92796-1_5&tbnid=D_yHQNNqhn7cqM&vet=12ahUKEwiTtrve2sfqAhUT-hoKHfv2A3kQMygBegUIARCSAQ..i&docid=TH2XEeTc9yjJmM&w=785&h=514&q=violin back tone wood slab cut springer&ved=2ahUKEwiTtrve2sfqAhUT-hoKHfv2A3kQMygBegUIARCSAQ Herron Allen at his book notices " bridge must by made of spotted maple,neither too hard nor too soft, the grain horizontal...". What kind of cut is the violin Bridge? Is there only one way? An example is here http://schuster-stege.de/Das_Holz_E.html Picture is more helpfull, so, if I can give an example: Is this a kind of bridge cut or am I completely wrong? Also, are there suggestions for European sellers of wood for bridges (untreated and high quality Bosnian maple)? Thank you very much all for your time
  14. Thank you all so much for your advises. Your answers were clear. I will stay as you say on my mic, recorder, FFT program.
  15. Thank you for your answer. I you like to use them in conjunction with other tests in order to have more reliable data for every the instrument I examine or make. For example, I do not have a Lucci (much more because I use Regh s methods). An oscilloscope can give me more information on the oscillations of the bow rod (a process like when hitting the tip on palm, the osc. can presentate the results).