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Found 14 results

  1. Hi all! I did an experiment yesterday by putting a pH indicating dye on a strip of maple. I let that dry, and then applied 5% sodium nitrite solution to it, and placed it in the light box. To my surprise, only after a few minutes of light exposure the dye changed from orange to a cool red, indicating the presence of a base. I had always thought that nitrite reaction produces nitric acid, so, I’m very confused as to why this test indicates as alkaline. Anyone have a possible explanation? Also, I’m wondering if this is a good approach to create a pH neutral treatment? I’m not a chemist, but I im
  2. Hi everyone, I’m an amateur violinist and maker. I am currently trying to pick both playing and making up where I left it almost 12 years ago. Getting all the tools out again and starting on a new instrument is a lot of fun but still as difficult as it was back then. However, having YouTube and forums like this one is sure a great help for an amateur. Many thanks to all that post here. While I continue to work on the instrument, I would like to start the first varnish experiments. Varnishing was a major problem on my first two instruments, and I would like to be better prepared this
  3. I wanted to start this topic with the hopes that it would become a useful resource for those who are looking to go in a particular direction with wood and ground coloration and are unsure of a place to start. Of particular interest to me is producing a wood color that leans on tan with grey hints. Not much yellow, and very little green. But, it would be nice to see everything that’s out there. If you have examples of any process you’d like to share, even if you didn’t like the result, it would be wonderful to have here in one place.
  4. I’ve been bouncing ideas through my head about the color of aged/oxidized wood and started doing some investigation into wood byproducts when I came across Sodium Lignosulfonate. It’s a byproduct of removing lignin from wood in the paper pulping industry. It is a water soluble powder which can range in color from browns to reds to golds that also has properties as a dye dispersant. Something tells me it could be very good for adding some color to white wood. Any opinions? Thanks!
  5. This picture shows Joe's balsam ground preparation 3 after 3:1 dilution with turpentine. After a while the balsam seems to precipitate out. Has anyone encountered this problem?
  6. I've been building furniture for around forty years or so. But not until I started dabbling in violin making a couple of years ago did I ever hear the term "ground." I'm now working on my eighth instrument and I confess I'm still a bit in the dark. The books and YouTube videos I watch all say to apply a "ground" of this or that to the bare wood prior to the varnish. So I do. But I have never have found anything to explain what, exactly, it does. I have assumed that it is to seal the wood somehow or make a better bond for the varnish. Am I correct? Is that all? Does it have anything to do with
  7. sandman

    Shellac

    Does anyone have any experience using dewaxed shellac as a ground? Specifically under an oil varnish such as joha Italian oil?
  8. Hello,I have a violin with the neck graft done by Hill's. I wonder how the Hill's finish the neck? It has passed 40 years and the neck is still intact with a glassy look. I have heard that the Hill bow maker finish their bow with boiled linseed oil. Is that the thing they used in finishing the neck? Any ideas? Some image of the neck https://s13.postimg.org/4ad3bz1br/Whats_App_Image_2016_08_23_at_14_59_05.jpg https://s15.postimg.org/8bpybugob/Whats_App_Image_2016_08_23_at_14_59_05_1.jpg
  9. Hi guys, I am currently in the process of varnishing my 2nd violin build and as per the 1st, I am using some of Joe Robson's products. If anyone is familiar with these products, I'd love to pick your brains as to how you use them on your own instruments. For anyone who is not familiar with his ground system, it involves 4 different balsam preparations and then a ground varnish as a final step. Also, there are colors that can be added after the 2nd balsam preparation. In the instructions I received from Joe, he recommends adding the aged wood color to a dilute mix of the 2nd ground preparat
  10. While I've always associated the 'Dichroic' qualities of the nicer Cremonese varnish with the ground, Most of the makers (not necessarily restorers...) I know associate it with the varnish layer. Do folks have an opinion about this?
  11. With many thanks to Helen Michetschläger I would start this topic. http://www.helenviolinmaker.com/talks_articles_files/Saltpetre-BVMA_10.10.pdf Come together revive this legacy!
  12. Hello all, I've decided to start this thread as a way to document my violin making adventures. I'm going to start out with my most recent trials in varnishing. I recently purchased a white violin and planned to try the following system on it: Shellac coats (various colors) to seal and ground, then IVC oil varnish for hints of color followed by clear coats and rub down. So far I've completed the shellac sealing and grounding. The pictures below are in chronological order (going from white violin to sealed to final ground coat). I would describe the resulting color as a lig
  13. I wanted to make a new attempt with propolis soap fulton I thought that I remember how to do The formula is 100 gr propolis resin 300 ml water pka 3 g KOH solution, then with alum. I forgot to give 300 ml of water, and gave KOH straight to propolis heated in a water bath. Then I put in a hot solution of alum. Hu, boo, ouu originated clotted mass as Vaseline, displace water. I decanted water. Further warming, but grease is already in a water bath (100 degrees Celsius) a more softened zřemě it got much higher melting point than propolis. Insoluble in wat
  14. Steps 1-5 below may constitute a classical ground approach or system. Without getting into recipe details, It seems to me that this list is the proper sequence of finishing goals that makers ought to be aiming for: 1. CLEAN the wood chemically with a recipe that also seals 2. PROTECT the wood with a second, more durable sealer 3. FILLER 4. FIXATIVE 5. DECORATE the wood by using some combination of the above 4 water-based recipes, which are exceedingly thinned 6. (Your favorite varnish system) The above is based upon experimentation in fine finishing, but I am no mak