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xraymymind's Achievements


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  1. I've also used the Kremer Liquid Fish Glue for minor things (cauls etc.), however it is important to point out that bottled 'Fish Glue' is not Isinglass glue. The bottled stuff is made from Fish Skin, unlike Isinglass glue that is made from Sturgeon bladders - it is a different product. Also, Isinglass glue is applied hot, just like Hide glue. You get an extended open time, and a stronger bond. Bad for any joint one wants to reverse later on, of course. Great tip about the Casein glue, JacksonMaberry - I will do a search for some of your posts about it.
  2. Once the glue was filtered and stored under refrigeration, did it last for a long time? I have seen references online to people cooking & filtering the swim bladders, and then storing it as dry flakes for future use...
  3. I do that (including putting the radiator on and using a hairdryer). I'm still interested in learning about Isinglass, and having it as an option in my arsenal of glue possibilities. I am not just assembling fiddles - I repair and assemble other types of instruments, too - which is what I am referring to where a minute or two of open time just won't cut it. If there is anyone else out there who uses or has used Isinglass, I (and others, I'm sure) would love to hear from you!
  4. I can assure you that this is not 'someone who has a buncha fish guts with nothing better to do'. It is in fact someone who has on occasion struggled with the very short open time of hide glue in certain applications , and is looking for an alternative for that very reason - without having to go down the Titebond route. So, this is a thread for the intelligent discussion on Salianski Isinglass glue. Great thanks to Michael Richwine for his erudite contribution! It is wonderful to hear from someone with first-hand experience of this glue.
  5. Hello folks, I am writing to ask if anyone here has experience with Salianski Isinglass glue, made from Sturgeon Bladders. I understand that it requires some work to make, and it is rather expensive. I'd be interested to hear any experience about how the strength & open-time of this glue compares with normal Hide glue? Any advice, tips, or experience on the cooking, use, and finished joins of it would be much appreciated. (I did a search on this forum for it, and while there are a few posts mentioning it - there doesn't appear to be a full thread about it).
  6. A bent coathanger sounds quite perfect to be honest. Don - I wonder whether you could explain / share a photo of what you attach the other end of the coat hanger to in your UV box? Is there a hook or something on the top?
  7. Dear all, I am currently putting together a new, larger UV Cabinet. There have been many, many posts on here about this before - and I have searched through and read almost all of them. This has been invaluable information on UV lighting, and cabinet sizes etc. But there has been very little discussed about ways of hanging instruments inside these cabinets. So, I thought to create this thread, in the hope that some people might share any tips on the way they hang their violins or cellos inside a drying cabinet. I have been using a shoelace (through Peg holes), but I really don't like this - it is very difficult to get the shoelace tied correctly, so that it does not disturb the varnish on the sides of the peg box. I have been thinking of using some sort of iron rod (like a meathook) instead, perhaps attached to a piece of wood at the top, or something similar. I'd really appreciate it if anyone might share any tips as to how they do this. And photos would be even better!
  8. Thanks Joe. What do you recommend as good polishing alternatives, asides from Rottenstone?
  9. Thank you for this warning Joe. I will give it a miss. How do you feel about Super Nikco?
  10. That could be an idea. Does anybody use Renaissance Wax over their Oil Varnish?
  11. This sounds promising. Might I ask, what do you rub it on with? Also, when you rub down the final coat, do you use anything before this? Thank you
  12. Note: I did a search through the Maestronet Archives, and was unable to find a good answer to this (despite plenty of talk about Rottenstone), hence this new posting. I have tried rubbing out my final coat of varnish (a good 2-4 weeks after it has dried) with Rottenstone. I used cotton rags folded into pads and Mineral Oil. While this gave the varnish a nice appearance, under a strong light (or raking light), many Micro-scratches were visible in the surface of the dried film. I wonder how this can be avoided - I would like to hear from any users of Rottenstone about this. I did not rub excessively hard, and did not use excessive amounts of Rottenstone. The type of Rottenstone I have is a light grey colour, but I have seen others (such as WFE's) that is a very dark grey. Could the darker type be a finer grade? Can something be used after Rottenstone to remove these micro-scratches? Finally, is there another type of (perhaps more modern) abrasive that could be used in place of Rottenstone to rub out the final coat, which does not leave these Micro scratches? Any responses would be very gratefully received. What a wonderful place this forum is.
  13. Ouch. Poor player, I hope she is OK. If she was particularly fond of the instrument, this must have been quite a traumatising experience.
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