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murray kuun

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Everything posted by murray kuun

  1. What then is the ideal temperature to set my bending iron to for bending violin sides?
  2. I have not been here for years and I don't often make violins, but I'm re visiting making. I've thicknessed the sides to about 1,4mm, is that ideal for deep curly maple? Then what is the correct temperature to bend at? I'm really struggling with breakage, in the old days I don't remember having such trouble. Thanks, Murray Kuun
  3. Please forgive me if I have posted this before, I cannot find a record. I started making (traditional) violins in the 1990s, after about 2 or 3 dozen I got bored, being a designer (industrial) for 50 years, I decided to do my own thing (with so many violin makers around, who was going to buy mine anyway?). The designed and made the first fiolin 3 years ago (the red one in the video). The blue one is the newest, made with a korina belly as an experiment (it has been successful with acoustic guitars). )
  4. Just completed my second fiolin in #veryblue. I have nothing against traditional violins, in fact, they still produce my favourite music. Just my take on a 21st century violin, not an attack on traditionalism. This model has stock standard geometry and cubic capacity and it is built in the traditional way. The main difference is only 2 corner blocks compared to 4 - I like what the extra freedom does for the sound.
  5. The shanks are thinner than 4/4 pegs
  6. 3/4 tuning pegs are a better visual match for my new fiolin, than full sized ones. Would the slightly smaller pegs be too difficult to turn? In case you were wondering, I have made this model before and am more than happy with sound quality - and yes I know, most violin makers would poo poo it but never the less, it works for me (and the odd client). Geometry is absolutely standard.
  7. I've always fitted to top before the back. I cannot remember why, must be the old (roneo'd) book I used in the beginning (before youtube). Is that the accepted way or does it not matter? I ask because one of the luthiers I follow on IG, fits the back first.
  8. Thanks, I had made about 25 violins back then and never had this problem. Since this post I moved from my proper bending iron to a smaller diameter steel pipe heated with a heat gun and seemed to get better results. I do use a strap and apply water with a cloth. I'm now watching the video as recommended by another respondent ....
  9. It has been many years since I made a violin. I switched to, and still make, guitars (for a living) but I felt like making a violin based on a new design (designed around ellipses). I got some really nice AAA wood from Switzerland but I'm having severe bending/breaking problems - far worse that when I started 20 years ago. Of the 4 strips I originally bought, only 1 remains unbroken. What could I be doing wrong?
  10. Some may be interested to hear my F1olin on her first ever outing with Kristel Birkholz. Here with Rory Gaddin on one of my guitars, Thin Lizzy
  11. When I learned violin making 15-20 years ago, it was taboo using French Polish, what is the feeling nowadays? I am doing my first ever FP application on an archtop I am making. This is after about 5 coats.
  12. I do have a cnc. It would be quite lightweight actually.
  13. I still have to sort out some design issues but I'm hoping to do this electric soon.
  14. Will you look at that, jolly nice.
  15. I had been wanting to try to make a violin for a long time but did not think it was doable. After a visit to Michaelangelo's David and bumping into a luthier shop in Firenze, I decided to try. I used Harry Wake's book and got plenty of help here on Maestronet. I made a few dozen before moving to guitar making - the designer in me got bored. Anyway, I have come back with a new design just the other day. I'm now considering a cello of the same design as this....
  16. Three of the four designs I have made over time. I think I like the new fiolin best (far right). I have yet the hear it played by a proper player (after lockdown) but I have high hopes. Just updated my www.murraykuun.com to include most of what I have made.
  17. Sorry guys, I cannot work out how to reply to individuals on this forum. I do have a www.murraykuun.com but am working on it as we speak. You should be able to get in though. Someone asked for pics of the back and other archtops. This fiolin is pure acoustic and has no electronics (it could if a client wanted). I have plenty on Facebook, Instagram, Pinterest and https://www.flickr.com/photos/142674472@N03/
  18. Nice looks like a super high end sports car! I'd love to see your archtops, do you have a website? Yes, www.murraykuun.com I am working on it as we speak but you should be able to get into it. Otherwise I have tons on Instagram, Pinterest and https://www.flickr.com/photos/142674472@N03/
  19. murray kuun

    Fiolin

    Workbench pics of my new #fiolin. I switched from violin making to guitar making (mostly archtops) about 15 years ago but still like to try my hand at my first love. I have yet to hear this, I have to wait for our lockdown to end before I can go in search of a proper player.
  20. The secret here is that you mix the colours into a bit of varnish? If not this method(artist oil pint), what system do you recommend - assuming the wood has been sealed?
  21. I always understood that the wood itself is never dyed, hence the sealer of egg-white or gelatine? Or not?
  22. My tests do show a bit less transparency, yes. What do you suggest?
  23. Am doing some research before varnishing a violin I made 15 years ago. I did not like the colour and stripped it all those years ago. It has aged nicely and now I want to re-varnish it and found these Oldwood products on line. It is horrifically expensive to do all the steps they advise on their YouTube videos. I still have stock of Hammerl varnish and now want to colour the violin - the question is: can/should I use normal artists oil paint colours for rubbing on the colour (after clear ground coat)? Or perhaps mix the varnish with the oil colours and apply by brush? I do also still have the pigments I bought from Hammerl all those years ago. I found it quite difficult to get even applications of pre-coloured varnish in those days. Doing tests now, I can get nice even applications if I use pure artist colours (with my fingers) - then coating that with clear varnish.
  24. Seems to be impossible for me to order oil varnish for delivery here in Africa (flammable). I can get spirit varnish in powder form from Hammerl but in "my day" only oil varnish was acceptable, has that changed at all with the current ban of the transportation of flammable goods - is spirit varnish acceptable? Or shall I resort to alternative methods like French polish perhaps?
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