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Found 7 results

  1. Dear Pegbox friends, Please share enlightened comments or experience-based advice on using soya Oil based varnish for stringed instruments. Years ago, the Varathane varnish brand replaced linseed/flaxseed with soya oil for various reasons, two of them being that soya oil is much lighter in colour (like white wine) and doesn't darken (as much) with age. It also dries faster which I have experienced when using linseed oil vs soya oil based canvas filler on cedar-canvas canoes. And soya oil has a milder smell compared to linseed oil or tung oil. This light coloured varnish allows for a non-traditional "blonde" instrument that looks good and appeals to many people - especially steel string guitarists - but in the past required nitrocellulose lacquer or super-blonde shellac. Shellac and lacquer finishes are challenging to apply and maintain and have different sonic qualities. Atrisans in ancient China and Korea were using soya oil based varnishes and inks many centuries before Amati and Stradivari were born. That should count for a lot. Thanks in advance for your input. Humour is welcome but keep it clean and keep it friendly and NO politics! Sincerely, Randy O'Malley PS Feel free to discuss Soy Sauce as a gound and colorant.
  2. * Please no drug-use humour * Have any of used or made instrument varnish containing Hemp( Cannabis) Seed Oil? If yes, how did it work on a VSO or guitar? There are hempseed oil-based commercial varnish products made for wooden boats and outdoor wood decks, etc. Be considerate of all readers, present and future, and confine your comments to violin making. Thanks in advance. Sincerely, Randy O’Malley
  3. Hallo everybody So i've been working on making my own oil varnish and pigments for a while now, and it seems that for every variable that i try at least 2 more open up. While looking for answers to different questions i came across several threads here that had a lot of useful information, but i couldn't find a lot about the actual method of grinding self made pigments into oil varnish, or how to layer them. Is somebody here familiar with these techniques and feeling like talking about them? I could really use some tips / tricks / things to avoid / things to look for from experienced people
  4. Hello all! So, I've been really excited about trying to cook my first batch of oil varnish. I've been researching the forums on here/ various things on the internet and getting supplies for the job. I was planning on purchasing a hotplate for cooking the varnish on when I discovered a "dip coat melting pot" while cleaning out the basement of our shop. It looks like an industrial glue pot with temperature control ranging from 100 to 500 degrees F. Looking them up online shows me that they are designed specifically for heating viscous materials evenly (plastics, resins, ect.) and often come with "thermostatic control to eliminate carbonization". Seems like its the sort of thing that would be perfect for cooking varnish! Has anyone done or heard of others using these things, or just have opinions on the matter? Also, any more varnish tips/ suggestions would be well appreciated. -Marcus
  5. 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
  6. Hello from Greece, I've been lurking in this forum quite a time reading various topics and I've decided to register in order to ask your opinion about a matter. I have a viola made by german luthier Walter Mahr in 2012. It is a nice handmade instrument that has been in my possesion for almost a year now. It's an imitation of an old viola, it has some beautiful craquelure that were made on purpose by the luthier itself. The varnish looks delicate and soft and I have noticed some thin almost straight lines on varnish that are visible in certain lighting. They look like scratces, like if somebody scratched the surface with an ultra thin sharp object. Also there are some semi circular lines right under the strings between the end of the fingerboard and the bridge - I suspect that while wipping rosin off the viola small particles of rosin dust scratched lightly the varnish. Is this possible? Relative humidity in my room is usually between 50-70% while outside can be 60-90% as it is quite rainy place and an island. I attach few pictures. I will appreciate your comments and advise. P.S. This is the Ebay ad from which I bought the viola. There are also few pictures of the instrument there. http://www.ebay.com/itm/Bratsche-deutsch-Meisterinstrument-Walter-Mahr-Bubenreuth-super-Sound-2684-/200779874110
  7. I seem to recall reading about wiping on and polishing a fingerboard with olive oil as part of setting up. Does anyone do this?
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