CFielder

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  1. Thanks for the tips Jackson! I’m familiar with tamarack, I’ll give that a go! Good point on the UV exposure, I’ll have to run an experiment or two. I got very nice gold-brown results on cotton in an enamel pot, so maybe it’s just that the red hues will have to be sacrificed. I’m also known to smoke a pipe, let’s see that beauty! I was wondering about Chaga, I have some powdered and it certainly seems to want to dye everything it touches. Very strong, handsome color indeed. I’ll have to do some experiments, thanks all!
  2. While I’m here, another question I’ve been wondering about: In my area there’s a pretty common mushroom known as Dyer’s Polypore that is capable of producing strong and handsome red-brown colors on yarn when prepared in an iron pot. In my varnish book I’m seeing all types of witches-brew type solvents for various pigments and plants. Is the best way to find out if this could be an option for varnishes to simply experiment, or does anyone have experience with this particular fun fungi? Or perhaps tips for experimenting with its viability as a varnish? I’m interested in using natural materials from my region (the Pacific Northwest), which luckily includes Sitka and engleman and big leaf maple. It’d feel special if I could find a handsome varnish to add to the bioregional mix as well. I’d love to add violins to the things I can forage out of the forests here!
  3. HS Wake repeatedly mentions epoxy in his Bow Rehair and Repair book. I think he gives a brief explanation about when he uses 5-minute type vs slow drying but his book was written long enough ago that I’m not fully confident it’s still the preferred adhesive for permanent bonds (on bow splices for instance) or if it’s even the same product these days. Any thoughts on epoxies specifically or the best permanent-(ish?) adhesives in general? Thank you!
  4. Also I’m not trying to be coy with the lack of asking price, I just don’t know how much the various cracks and blemishes effect their value against their age, or if they’re even worth much at all, and I wouldn’t want to embarrass myself. Again, if you have an estimate on a fair value feel free to PM me.
  5. Since it’s so hard to catalog all the quirks and blemishes on these I just did a quick and dirty video that goes through each individual neck in some detail. It’s pretty shaky and I even flip the screen upside down for #13-14 but I hope an interested party can stomach them enough to find them helpful. Some very interesting pieces here, in my opinion well worth using in builds and repairs. Get in touch! Thanks.
  6. Very enlightening advice above by the way. Thanks all. Didn’t mean to imply I didn’t get the answer I was looking for, I’m hearing there’s some nuance to the decision in each case and being conservative and thinking of permanence is the best course. What Mr. Burgess describes is what I’m thinking of, if there’s any suggestions on the best option there.
  7. Ok har har, I know what to do next time my violin blows a head gasket. I’m surprised, folks don’t use any kind of non-permanent finishing polish just for the satisfaction of that “wet” look? A little tung or French polish seems like a good option for bare wood, if it’s really an issue, but I was thinking something less extreme. I guess a good cleaning is probably superior to adding something greasy but in my imagination there’s some magic potion that could just make things look spruced up for a time and add some nominal protection without compromising the varnish in the long term. I think I’m just imagining something that doesn’t exist here. Bigfoot’s Magical Finishing Oil is my next patent.
  8. When an instrument has wear through the varnish, and is exposed to temperature and humidity enough to look dehydrated, what oil do you like to use? In other words, what’s a good go-to finishing / maintenance oil that’s unobtrusive to varnishes and won’t spoil in the long run?
  9. https://imgur.com/gallery/ygVNrII These came from a repair shop in Oakland that closed down in the 70s, they’ve been sitting in a box since gathering dust. Some are marked (Germany, Strad, etc.), most are not. Some have the final turn of the scroll glued on, some are solid scrolls. Pretty much all show some blemish or another—cracks, bumps, mildew, base coats you may need to strip, etc. All are for repair / as is, but there’s some great material here. All are nicely flamed. 12 are 4/4, 1 is 3/4, and 1 is 1/2 (has the badly broken scroll) I tried to picture the blemishes and defects thoroughly but it’s probably a little confusing. I have them numbered for reference and can give thorough descriptions / pictures of each to interested buyers. Id like to sell as a lot, but if I don’t get any offers after about a week I’ll break them up into groups or sell individually. I honestly don’t know what to ask for these so please shoot me an offer or an idea of their value if you you have an estimate. Please be reasonable with offers, but I’m flexible. Photos show with & w/o water, and in both sun and shade. Thank you!
  10. Well put—it does FEEL stable, for better or worse. In any case, I’m not going to give it the royal treatment. I’ll comment on sound one of these years.
  11. Yeah, run of the mill Markie with a sad looking button repair... sigh... as expected. Thanks for the input! I’ll put some elbow grease into it for kicks and see how it sounds. Does look like it got a regrad and a real bass bar, and I have this notion that fiddles from Texas might have mystical qualities, but I bet I’m in for a pretty lackluster time of it. *Huck!* Im more interested in the other one I put up for ID, with the (probably also false... sigh) Hamm label. It’s got more character at least. Go and gander if you will!
  12. I can’t bring myself to dig this back out at the moment, but if it helps at all it’s labeled Johann Gottlieb Hamm (etc.) and the label itself looks a little convincing, although I see no telltale branding of initials, unless they’re covered over with the moved (bass side) label. Probably an orphan label or another fake. And the scroll seems a little (lot) conservative for Hamm. But the ffs made me look twice yeah? I don’t know folks, any wild guesses might help. I think I made a dumb buy on both these. Again, no upper blocks, and it has a spot of varnish that looks like someone smashed a wad of fruit by the foot into place. So...
  13. Well, I wrote out quite the thoughtful opinion on how I thought it was Appalachian before I read the rest of the post here. [FOOT REDACTED FROM MOUTH]
  14. Feels like a log. Again no upper blocks. An amateur German effort? Thank you for any input!
  15. No upper blocks, obviously computer printed Roth label reading Strad 17— (mumbles incoherently), not that it matters. Markneukirchen firewood? I hope the photos come out ok, if not let me know. Thanks in advance for any info.