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Goran74

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Everything posted by Goran74

  1. So, you like to see names and judge the term "great reputation". This is not on my intentions, it is off topic and I have nothing to prove to you. (except my respect that you already have it).
  2. I have seen many instruments that have sanded top/ flat from modern makers with great reputation (and much greater prices) in Cremona and here in Europe generally. The instruments look very nice.
  3. You have already a nice varnish. For polishing: You have to choose on what you like - >Matt (abrasive component+oil) Semi gloss (with wax as ingredient/ carnauba+beeswax) Gloss (French polish) Also you can try mixed types (abrasive, oil, water, wax , emulsifier together)
  4. You said you want a flat surface. Before anything else, how did you finished the surface? Scrapper or sandpaper? For the flat front (which is not my favorite) you have to finish with sandpaper (that needs small sand. blocks etc). It is tricky and need care (because of the wood appiarence later). Then you need to pass all the violin with a little water. Dry it. Then sand it again. So, the surface have to be completely flat. At this stage you will need more coats of varnish. Varnish/sanding til you find the flat. A process which is questionable.
  5. Link works fine. Copy and paste the link as text. The hyperlink connection is not working.
  6. Thank you all for your answers. I will seriously consider the case of buying a good small bandsaw.
  7. Come on.. For years I was using no power tools except drill. But, after time, wrists have some difficulties etc. I am sure that you do not like to have the "hands" of the old woodworkers, violin makers, Wood carvers etc.
  8. Thank you. I see that that I need a much "bigger' budget than what I was thinking. Anything on the low budget side?
  9. Hello, I would like to purchase a scroll saw to cut various things for the violin-making process including the mold. Can you suggest to me what do I have to take care of? Here in Europe I see many good reviews for Dremel Moto saw or for Einhell . Their price is very good. Also, I would like to know something about their safety. Many woodworkers say that they are very safe as machines, even safer than a drill. (As violinist I have to take care of my fingers - as much as I can - but not on the obsessive/pathological way.) Thank you
  10. You can let aside commeical glues, of course they have their purpose in industry, and focus on natural glues. Bone glue is very nice for construction. I would say some times I prefer it for the making process and let hide glue for repairs. Fish glue was also used tremendously in Mediterranean countries, from Spain to Egypt and to all kind of instruments. The best glue is the good joining and right clamping. I know guys that join plates with Titebond. Since they do perfect joints, glue comes in second place.
  11. 2mm aluminium, or thin plastic or wood and you can cut your own. Avoid ready made templates for many reasons. Pay less for a good plan, than a lot more for bad made (and useless as you will realize after time) templates.
  12. Buy a Strad poster. "Brusilow" poster has CT scan and it is very "complete". If you want Cannone, you buy a CD together with title "Paganini s violin" from Dynamic. Accardo plays many pieces and the edition has very nice folio with information about that violin.
  13. Funny and the guy who told that had a point. But there is always another point of view. The book is still a jewel in the violin making bibliography. Allen won the battle with the time. Not because he wrote an analytical technical manual on how to make a good violin, but because he passed his "flame" and sheer love for the art of Violin making. What is more important? The "flame" or the right mm on projection?? I would choose for my childen the 1st. Archimedes spoke about the lever that will move the earth. If you start analyzing that fragment a lot - you miss the point...
  14. I agree. I cannot find a reason to revarnish this revarnished instrument. What you can do is to add the missing wood (at overhang, corners etc) retouch (as you did I think) and then French polish, a tampone con gommalacca. No heavy coatings or major alterations on the existing varnish.
  15. Here in Europe and personally from my ancestors, we use at the most the nero fumo - or just fumo- i think is the lamp black. The stories refer that many poor artis were scratching old burned metal vessels to get the black (Nero di carbone) . Fumo was producing the purple blue of the Mediterranean houses. White lime + a bit of Fumo turns the colour to a lovely blue hue. (+linseed oil)
  16. Thank you all for your answers. Of course we speak only for alcochol soluble colors. I would like suggestions about those modifiers. Before some days I was missing that yellowish ochre and I could not retouch properly a wood addition on a top. (I was trying hours, +I asked help from a friend that it is painter).
  17. Hello, I would like advices about what alcohol soluble colors to purchase for retouching. (I lost a box with such colors and aniline dyes after moving from my old place. So, I have all my oil and water colours but not alcohol soluble.) I had purchased many colors from Hammerl in the past and I was very satisfied. If someone has to suggest a colour list, (the fewest to do the most of the job) it would be very helpful. Thank you
  18. I know 2 ways of making a scroll. 1. You need gouges and a saw. 2. You need a CNC Do I miss something?
  19. Many wise words from Mr David and Mr Noon. I have to add here that someone has to take care of the current economical crisis (at least in South Europe, Eastern Europe, many places of America etc.). This crisis, plus coronavirus, makes the future unpredictable. Also, the Chinese market becomes very strong and quality gets every day better. By examining one Hegel s (that is widely applicable on Marxistic and Socialistic environments) law: Quantity turns to quality Soon, East will conquer the high quality market in string instruments. So, everybody has to keep in mind that market changes drastically. But nothing to think a lot. Keep walking and do not be afraid of failure. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better. (Beckett)
  20. From Theofilus Monk and Hermenia, to Sloane MS and Merrifield Ms collection, the varnish was prepared in various kind of vessels. Older posts are discussing about these materials generally. Is there any appropriate material for heating varnish and how different are the results? Inox pots: some older posts refer that colophony gets darker. I was cooking in Inox and I think it had some effect on drying time. Aluminium: I use iron to get colophony darker. In such case, does Aluminum, iron and colophony interact each other? I have an old alu. pot and I plan to test it. Copper: this was used for sure in ancient times, since historically is one of the oldest metals in use (even from Homeric times- Copper was used from everyday items to weapons). Modern Ceramic pots: These vessels have some layers of protective films, but materials are not known to the end user. Once, I cooked varnish in a ceramic pot that had damaged surface and the cracked layer was mixing with the varnish. Zinc pots: Zinc was historically used a lot in making cheap cooking vessels.
  21. Thank you all for your comments.
  22. Thank you for your response. I did not open any notch yet. Excuse me for the description but I give some more details. Orange line is the one that connects the two lower corners. This line is at 202mm. Green line is the 195mm. The corner tip and stop's distance is bit small (~7mm).
  23. Hello! I was copying an old east European violin that has some geometrical issues. Corners have a small distance between them (the corners of lower section are high to the specific model). Is the solution to put stop length at 192 and enlarge a bit the neck (133)? The original violin has also 192 stop length. I would appreciate your opinion. {I have in my mind some problems that produces to bowing this geometrical disadvantage, but, I like this model - let s say I go by emotions-and I want to finish it.} Thank you all.
  24. After reading the competition`s rules, I would like to know if the bridges are returned to the maker? Pictures can be taken in order to upload, (or faster a colour scanning of the bridges) and then shipped back. Shipping cost is minimal I think and can be included at the primal payment. I know (from painting exhibitions to violin makings competitions) that the items do not become property of the gallery or the person that organizes the concept. Thank you
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