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DelViolino

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  1. I want to throw my two-cents in (if they're even worth that much) and say that for the level of instrument you're probably on the right repair track. There are things I would do differently than your plan though. I would use hot hide glue all the way around so as to give myself and any future luthier as much leeway as possible to have one more try by being able to clean out the old glue and try again. I would use somewhat flexible plexi to help level cracks as I glue them (which I would take only a small portion at a time). And I wouldn't chase the whole area with one large patch. I think smaller patches and cleats just to help reinforce where needed would be much more manageable and lend a more desirable end result especially if time is taken to thin them after they're set. An experienced luthier with a nicer instrument might take the rib off the upper block to more thoroughly repair that portion of crack (?) but for you and it just work what hot thin glue you can into it from the outside. For aesthetic purposes once the top is back on you might look at some sort of french polish or just an alcohol varnish layer over the area (I really have no handle on the details of this idea as I have no hands-on experience, only watching others and reading - hopefully others can chip in here). Anyway those were my thoughts and even if they aren't spot on maybe they can help help with ideas.
  2. Hi Hank. I think some better photos would be helpful. Here is the link for the stickied thread about photos used for id purposes. Also I'm curious if you could type out everything the label contains as it's not totally visible. I hope you're able to get some answers.
  3. Jerry, what's the purpose of glutaraldehyde in this application?
  4. Davide, is this the technique that you usually employ? Do any other modern Cremonese makers use it?
  5. John, I guess we'll never know! They look interesting though.
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