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Everything posted by Goran74

  1. 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
  2. I know 2 ways of making a scroll. 1. You need gouges and a saw. 2. You need a CNC Do I miss something?
  3. 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)
  4. 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.
  5. Thank you all for your comments.
  6. 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).
  7. 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.
  8. 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
  9. Thank you all for your help! I made some corrections at the corners of the ribcage and shorted them a bit. I put the stop length at 193 as the original violin. I let corner s overhang only at 1.5 mm. So, I get an opening of 7,2 and 0,7 distance from the f lower notch. Of course, corners are close at the original violin /it is not about a Strad or DG copy.
  10. By the way I located what I missed. The violin I copied has small overhang at corners 0,5 mm. Mine is 2,5. If I cut down the corners and decrease 1 mm mold / rib corners I get 7,2 mm or more, which sounds good. Does this make sense? Thank you all for your answers and your time.
  11. I have read it long ago (with the dividers and the way you design the corners) . It is excellent. Geometrically, center circle applies to the 4 corners. Problem is that their distance is small. I get it. (No way back now) I think I will get small (or no) advantage from top 's arching and smaller stop length. I think also that I have to go to the end and finish it since there is no available correction to it at this stage.
  12. Pattern s violin has some repairs at corners but not extensive damage (like bow hitting on edge a lot) . Also has stop length at 193.
  13. Hello. I finished ribcage and back of a violin (shape is taken from an old one) and I am wondering if the corners are too close to each other. The back is 356, and 112 the distance at the middle. The distance of the (unfinished) corners is 6,7 cm. Will this distance and the lower corner produces problem when bow plays at E string? The arch height of the back is 15.
  14. Thank you for your directions and answers.
  15. Thank you a lot for your answers. Since, I decided to do it (and in earlier restorations, if this done properly in some cases it does not seem bad at all) I would like to here more opinions on tools. Thank you for your suggestion. I have used in the past shellac based medium and black dye, but never ink.
  16. Happy new year! I have a violin with painted purfling that has wear off a lot, both on top and back plate. I could restore it by hand (with small brush) if the problem was smaller. A thing that I did with success at an older restoration. I would appreciate if anyone could give me an idea how to make a tool to repaint the purfling. Best wishes for 2021! Stay creative, healthy and share nice emotions!
  17. I agree. Thank you David for your wise words. That is what I would like to mean above. Arching, setup, treatment etc. are considered seperetly for each model we make and we have to be accurate. I had only original measurements of the back and that is why I followed that outline. I did not say I 'copy' a Guadagnini (and I do not think ever I copied an instrument). I said my mold is based on a Guadagnini.
  18. JB Guadagnini 's ex Krasner 1766 is 4 7/16 inches at the middle and Van Atta 1773 goes to 4 11/16 that means 119mm. This is the reason I ask, when middle section considered as' too wide'. Arching varies from flat to middle height.
  19. 113mm are measurements at the book and not mine, on the specific violin. My mold is 106mm that leads to final 114~115 ribs+overhang.
  20. Thank you for your answers. I have 2, 3 mm difference from original measurements. By the way, when you copy a violin do you ever achieve 100% at wood, Wood treatment, ground, colour, dimensions, arching etc?? (2,3 mm is the problem?) What do you copy - Dimensions? I asked about middle bouts and not about copying directions (that are very relative and widely discussed in other topics).
  21. Hello! I just finished a mold on a Guadagnini violin. I am working from photos (followed the outer purfling line / about 2 overhang and 1.2 ribs). Also I reversed the one side to achieve symmetry. The origimal measurements on middle bouts are 113mm. My mold is 106mm at the middle. So, I go for a ~114,115 middle. I was wondering if 114~115 is too big for a violin, since most of strads and del gesus are below these numbers. Will be playing at E string comfortable, or the bow will hit easy at the edge? Which are the limits at violin bouts in the end? *(the original violin is 351~352, so would like to add some mm ot get a 355). Thank you!
  22. Thank you so much all for your answers I have seen many of his videos. Nice material. I tried that with linseed oil and walnut + turpentine. Very nice result, but enchaces problematic areas too. Maybe this is the truth, but worths searching something more.
  23. Hello. I have finished a back with weak falmes. When I tried methods of enchacing (in a piece from the same wood) the flame with linseed, walnut oil or an alkaline solution (sodium bic.), the vertical grain is enchaced but the flames not. What could I use in this case, in order to hide a bit the grain and enchace the flames? Thank you
  24. Very nice photo. Thank you for that and for your time. (Please, note the title of the book, even if I cannot read Dutch). This is the way I knew from English makers and I mentioned before - as the outlined board. What about the flat board (or on table building)? - I realize from the convesation that, after ribs and lining, ribcage was unattached from board and immediately traced unsuported. Flip the flat square board makes no sense to me. I use molds. This is why I have the questions on unsupported ribcage.
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