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I've been lurking on this site for the past few months as I have done a complete rebuild on my cello - which I purchased on craigslist for $250 last Summer. I'm an engineer by education and have been taking things apart and putting them back together my whole life. After doing an initial set up, I wasn't happy with the sound, especially of the D string. I started with carving a new bridge, and have since carved 4 more, always trying to improve my skills. I tried different sound post positions taking notes about how it affected the sound. I then researched fingerboard undercutting and tap toning of the fingerboard itself - I finally got up enough courage to pull the fingerboard and relieve the back side - originally it was very rough, carved by a team of beavers, most likely. The instrument got better and better as I did this work but still wasn't even as good as some of the shop German cellos I played in local Portland shops. It became obvious to me that the plates were way too thick so I took a deep dive at platetuning.org and read every article I could find. After taking the instrument apart twice, I eventually came to realize that "free plate tuning" is not the final answer but fixed plate tuning (I ended up building a jig for the belly to hold the edges in place), worked really well and helped my focus on thinning the areas that needed attention. After my second regraduation session, the cello really started to sound great - better than anything I could find in shops up to $20K. I replaced the bass bar as well - ended up using a reverse triangle, Christian Bayon style, without the cut outs between the bass bar and the belly. I'm well aware of how resonance / stiffness works - the more weight away from the fulcrum, the lower the resonance frequency, and the stiffer the material at or near the fulcrum, the higher the resonance frequency - so it's therefore possible to both raise or lower the natural frequency of a fingerboard. Anyway, I digress. Nothing I mentioned above is all that interesting and certainly not unique other than tuning plates with jigs which doesn't seem to get enough recognition. I'm posting today because I decided to remove all that nasty sprayed on finish and recoat the instrument with what I think is likely a unique approach, at least not one that I have read about yet. Several years ago, in partnership with a Portland, OR based manufacturer of specialty coatings, I designed a wood finish for exterior decking and siding - usable on both hardwoods and softwoods (novausawood.com is my company and the product is ExoShield). We wanted to create something that would outlast all the Linseed Oil / Vegetable Oil based coatings that do not perform well in exterior conditions. We use only Pure Tung Oil from China, in a mix of polymerized and unpolymerized (we add some accelerators to the mix to help the overall finish dry quicker); then we add UV blockers, a fungicide, transparent iron oxides and just enough low VOC solvent to help it penetrate. It's technically a phenolic resin not an alkyd resin. We make this stuff in clear as well as 6 different colors. After reading about ground coats and how it can affect the sound of the instrument, I decided to give my Tung oil formula a try. I laid down a couple thin layers of clear on the entire instrument and then laid down a couple thin layers of a 50/50 blend of Mahogany and Walnut with a little added transparent dye from Rockler - I used the TransTint brand. I lightly wet sanded between all coats. The finish dries quickly - within 12 hours in 80-90 degree heat; remember it's made from polymerized Tung oil and has added drying accelerators. After working on this refinishing for the past week or so, I finally did initial testing last night. I was absolutely blown away by how much more beautiful my cello sounded. Gorgeous overtones, no harshness, long ring time. I still intend to do a French polish to finish off the instrument so I think it might brighten up a bit more. I started playing around 8:30 pm last night and just couldn't put the instrument down until well after 11 pm.
Hi guys! So, I'm getting ready to varnish a fresh, bare patch of spruce on a violin top. But, it's my (shaky) understanding that one must first coat the bare wood with something to "seal" it-- meaning, something that will 1. Protect the wood if the upper layers of varnish are ever worn off, and 2. keep the varnish from soaking all the way through the wood and stiffening it, thus diminishing its tonal qualities. I'm about to do my first varnish, a simple spirit varnish (with some pre-mixed varnishes.... because this is a rush-project for a friend of mine who needs to violin soon)...... what would be a good ground coat for a beginner? I have hide glue at my disposal, but I've heard that diluting that and using it as a ground coat tends to muffle the tonal qualities of the wood. I also have tripoli powder, sandarac, and methylated spirits at my disposal. Could I rub tripoli powder into the wood as a filler/sealant? Or could I use a VERY dilute coating of sandarac dissolved in spirits? Advice is very much appreciated! I've not been able to find a lot of background on this topic that is geared toward beginner varnishers (rather, I see a lot of writing arguing about Cremonese techniques .....). Thanks, guys!!!!! - Sarah