Search the Community

Showing results for tags 'varnish'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Maestronet
    • The Fingerboard
    • The Pegbox
    • The Auction Scroll
    • Contemporary Maker's Gallery
    • Luthier Exchange
    • Music Happenings
    • The Keyboard
    • Early Posts - 1996 - 1999
    • Maestronet News

Blogs

  • Maestronet Admin's Blog
  • Tim McTigue's Blog
  • moellis' Blog
  • jaclynatkinson's Blog
  • Rita's Place, Rebecca Rose's Blog
  • hrobert's Blog
  • Laughing Prince's Blog
  • Sergeij Rahkmaninov's Blog
  • viola_license_revoked's Blog
  • Mountain Luthier's Blog
  • Making a Violin
  • Glenn Hunt's Blog
  • gouger's Blog
  • codeprost's Blog
  • The Ways of the World
  • JDGillespie's Blog
  • ronwalker49's Blog
  • ronwalker49's Blog
  • Sandra012341's Blog
  • catmccall's Blog
  • madog's Blog
  • madog's Blog
  • James M. Jones' Blog
  • pradaerloves' Blog
  • Cristina9's Blog
  • fiddlesurgeon's Blog
  • Misical Passages' Italian House Blog
  • Misical Passages' Italian House Blog
  • Bill C's Blog
  • jstainer91's Blog
  • ramanaji's Blog
  • ramanaji's Blog
  • injection-mould's Blog
  • artmusic's Blog
  • artmusic's Blog
  • vin3335412's Blog
  • num1guitar's Blog
  • TheSouthernTraders' Blog
  • TheSouthernTraders' Blog
  • aldric no 71 1835's Blog
  • aldric no 71 1835's Blog
  • ani's Blog
  • ani's Blog
  • aprilchill's Blog
  • jiajiale's Blog
  • cabrinee's Blog
  • instrumentos music. finos' Blog
  • instrumentos music. finos' Blog
  • hujh's Blog
  • leelilyaaa's Blog
  • Finsternis' Blog
  • Finsternis' Blog
  • futangdg's Blog
  • Torbjörn Zethelius
  • hcg's Blog
  • zzzxx's Blog
  • zzzxx's Blog
  • maya black's Blog
  • jamesng886's Blog
  • xiaowei11's Blog
  • Aelspet's Blog
  • majian's Blog
  • wowo001's Blog
  • wowo001's Blog
  • omoni's Blog
  • omoni's Blog
  • eynfcred's Blog
  • teng2012001's Blog
  • mhfais' Blog
  • mhfais' Blog
  • fufu's Blog
  • G DGDFG's Blog
  • callmehello's Blog
  • wer12's Blog
  • wowgold's Blog
  • lixiang's Blog
  • lixiang's Blog
  • jiposdoas' Blog
  • pingpang's Blog
  • Gary411's Blog
  • lixiang's Blog
  • wangwenwen's Blog
  • pkteragold's Blog
  • lixiang's Blog
  • Donna Flynn's Blog
  • Donna Flynn's Blog
  • Konenfant's Blog
  • rockybaroque's Blog
  • beulah123a's Blog
  • wedding dress' Blog
  • suny's Blog
  • eynfcred's Blog
  • xushiyang891114's Blog
  • xushiyang891114's Blog
  • icheapbelts
  • injection-mould's Blog
  • lorakunneva's Blog
  • Matthew Gryspeerdt's Blog
  • Matthew Gryspeerdt's Blog
  • Background of Weighing Machines
  • Important Concerns For Choosing an Evaluating Balance
  • Logical Weighing Programs in the Laboratory
  • Weight Cells And Their Uses
  • Analyzing Weighing machine
  • Strategies For Choosing Commercial Weighing Machines
  • c.m.sunday's Blog
  • my blog
  • Collin Bank: A premium bank offering excellent personal banking services
  • Leluda's Blog
  • alisa's Blog
  • lebron10's Blog
  • Lebron10lasay9ya's Blog
  • nikefree3lay's Blog
  • nikefree3mensbo's Blog
  • airmax90yes' Blog
  • nikefree4hao's Blog
  • annawilliam's Blog
  • Life is Music - Play it Well!

Calendars

  • Community Calendar

Categories

  • Violin Making & Repair

Categories

  • Articles

Product Groups

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

Found 64 results

  1. I live in a country where we don't have any good luthier. Moreover, it's a hard deal to find a good violin, there's no music shop with normal violin (only cheap fake ones).. So I don't have any option except doing it myself. I will do it this way or another, but dunno the steps. Please don't judge me badly hahahah))) 1. As you see there are minor cracks. What material should I use to cover those cracks? Is it necessary to cover them? (pics of inside & outside below) https://imageshack.us/i/po9jreixj https://imageshack.us/i/plY0MBn1j https://imageshack.us/i/plH2Zi2Gj 2. Most of the cracks are on the ribs, but ribs are covered with additional ribs, so should I remove them, or it's okay to leave them this way? (pics of inside & outside below) https://imageshack.us/i/plSIOz4Bj https://imageshack.us/i/po33wiqAj 3. One more crack is on the neck. I think no need to do anything with it, still I took photo just in case.. (pics of inside & outside below) https://imageshack.us/i/pmXujnWtj I'm about to receive hide glue soon for it, so far, that's the only material I have for now. Now, one more important thing. When I fix them and put the spruce back I need to varnish it. I saw in few videos I found that the luthiers put coating, then they varnish the violins. Or I might be mistaken. Just need to know what materials to buy to varnish violin, how many layers of coating, how many layers of varnishing. Actually I'm not aiming to make the violin shiny, would like to make something like this (link in the comment). I hope you'll share your experience, please....
  2. The cello is a nice Caressa and Francais. The player is extremely meticulous about the varnish surface. When the varnish becomes dull at the shoulder and on the upper back he is a sort of freaking out. 2 weeks ago I tried to fix the problem with brushing on the affected area a thin layer of clear varnish and let it dry for 1 week to make sure that it hardens out sufficiently. the player is not too enthusiastic about a protecting plastic sheet on that area. i am not too enthusiastic about some commercial durable varnish (for boats), because I don't know how reversible it is. I am almost thinking of a breast rest (similar to a violin shoulder rest) to solve the problem. Anyone here on MN had the same problem?
  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. Hello varnish specialists! A violinist wants to order one of my cases, and wishes that the case be lined in a polyester velour of his liking. He has a Strad and a Vuillaume, and personally I'm worried about the reaction that the material may have with the varnish in hot weather. Can anyone provide me with personal experiences? Horror stories? Or is polyester OK? Many thanks in advance!
  5. I ran out of my top coat spirit varnish. My formulas are in a notebook that must be in storage. Hazards of a tiny workshop. I know it had benzoin, mastic, lac blah blah, just don't remember. Got a good formula that will bond well to oil and go on nicely? Thanks much.
  6. Michelman pp 31-43 argues for a historical basis to rosinates extending back to Cremonese times. I think his arguments are weak. I have also looked for modern analyses that could resolve this issue and found none. Maybe I overlooked someone's research. Does anyone have a better argument for rosinates used by Cremonese makers of Stradivari's time?
  7. So, ....is it bad if your brand new varnish develops a 100-years-old-like crackle effect within a month of being applied?
  8. I found this on the web, awesome images, finally the proof that Stradivari was extraterrestrial.... Joking aside, the varnish looks very rich in pigments, something I would not have expected, according to the latest research. I do not know neither the author nor the violin, does anyone know if its conditions are good (original varnish?) and so if the images are reliable? This gentleman seems to have many personal theories, does anyone know him?
  9. 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
  10. Did anyone here on MN ever make a test with varnish application? Here is what I am trying to find out: if we are using turpentine soluble varnish we can apply it in let's say 3 thick layers with a brush or in 100 ultra thin layers with a cloth. Is there any difference in the visual result? Has anyone tried it?
  11. Hello all. So I've been reading up on as much information as I can within reason about the use of nitric acid in the cooking of varnish to produce color. Of course, reading about it has made me aware of the potential problems in using varnish produced with nitric acid. Some people claim to have success and others have many complaints from color shifts to drying problems to cracking and all sorts of fun stuff. Putting all of this aside, I have three main questions, both highly related. Does anyone know what quality of nitric acid produces the production of the colorant? Is it the oxidizing quality or the strength of the acid itself? Could the unnatural oxidation be what interferes with the drying time? Also, has anyone tried to achieve similar results with the use of chemical products other than nitric acid?
  12. Here is some stuff for sale. Juzek caliper- larger size for cello-SOLD holtier varnish. Dark is between 1/2 & 2/3 full. Clear is full. Old wood tube colors. Madder lake red is unused, madder lake brown red is very used, but there is plenty for multiple instruments left. I plan to include the brown red with the sale of the red.-SOLD Veritas convex sole squirrel tail plane. Dremel purfling jig-SOLD ibex purfling marker-SOLD old wood siccativ. SOLD Text me for fastest response. Make an offer on any or all of the items. 651-890-6683
  13. Hello, I have a few questions regarding the appearance of my violin. I have been told it is probably German-made from the first-half of the 20th century. Please bear with me as I have no experience of wood-working or varnishing... Is the light-dark pattern of the back due to age and wear (light areas are worn more than the dark ones), or is it due to the way the wood originally took the varnish? What are the dark spots due to? I read that they are due to dings that happen during the life of the violin. Is that were true, wouldn't the varnish be damaged at each of these spots? It seems that the varnish is as smooth as everywhere else at these spots. Does the darkness of the back seem mean that it has been repaired? Thank you.
  14. 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?
  15. Hell everybody, Last May I send my oil-varnished viola to a qualified repair person to be cleaned. During the cleaning, three parallel lines appeared on varnish running along the upper left frontal side of the instrument. The repair person tried to "camouflage" them by applying linseed oil on them but with no luck.... The lines are still there! They can be noticed under appropriate light. Is there another way to make them dissapear or it doesn't worth it? I have attached a couple of photos - the lines can be better seen if you zoom the images. Thank you in advance. John
  16. So I got a few different colors of the JOHA oil varnish from IVC... I am quite pleased with it save for two points: 1 - it isn't dark enough. I've remedied this by adding color extract, so this is no big deal. 2 - it dries too fast... that may sound like an oxymoron, but I assure you it isn't. I did a little digging and found an old thread from 2008 that raised the same concern. I just tried one of the suggestions which was to thin the varnish with turpentine. That helped some; but it still dries too fast to be able to move it around to the point I am satisfied with it. I wound up with a belly and back that are 75% nice and 25% streaky/blotchy. Luckily I am doing this on some cheap white violins bought for varnish testing purposes, so it's not a total disaster. My question is: are any of you all using this/ experiencing the same issue? If so, have you cracked the code on how to alter it so that it remains workable long enough to varnish without being in a hurry, but retains some of the "quick" drying characteristics that make it nice from the oil varnish standpoint? I'd love to hear your recs on the issue if so. Ive been wood working for years, and finishing has always been a thorn in my side. I hate it... every aspect of it. That's why I'm looking for the closest thing that is "out of the box" ready for a decent finish on my first few fiddles. I have two done, and am getting close to a third... I'd like to make them look OK as far as varnish goes, but I'm not quite ready to dig in full time to perfecting a unique technique... I'm still learning the making process. Thanks for for all of your help!
  17. I was doing a routine inspection of my violin today and got to wondering about something... hoping someome more knowledgeable can clear up my curiosity... My violin has these black marks all around the top edge of the ribs where the top plate is glued on. But not anywhere else. Is this discolored glue residue? Varnish? Lead? Just was looking closer at things and was wondering what those marks were from in my violin's past. Here is a photo Thanks for clearing up my curiosity!
  18. sandman

    Polyurethane

    I recently tested polyurethane (Minwax Wipe On Poly in gloss) by applying 3 generous coats to a sheet of Saran Wrap. After the third coat had dried thoroughly I wrapped the Saran around a soda straw. There was no flaking or cracking and the finish seemed to hold up quite nicely. Its a bit "outside the box" but does anyone have experience using it on a violin? Seems like a no brainer but I've never heard of it being used as such. What am I not considering about it?
  19. Hello there, I'm a new member, but I've used threads from this forum as an information source many times before. I'm a Danish cellist with a lot of hobbies, one being restoration of old violins. I'm rather new to it, though, and have only repaired one violin yet with a nasty sound post crack, so I need to gain a lot of experience. I picked this violin up from a luthier's shop window in Schleswig, Germany. He told me it's a 200 or more years old violin from Mittenwald. I asked why the maker didn't use flamed wood for the neck when the body seems to be of rather nice wood and he said that it was probably made by another person than the body like some sort of production line, just like the trade instruments. After staring at it in admiration ever since I purchased it, I've formed a theory that the neck might actually be made later instead of a neck graft. I think there is lots of attention to detail in the body, but not so much in the neck, and the combination seems weird to me. However, I don't have much experience, so I would love if someone could help me identify it. I have taken pictures with my phone, and I've observed a few details: The fingerboard seems to have been too low on this neck and have been lifted with a thin, angled piece of maple. Is that normal? The fingerboard has grooves from the strings The upper right corner where the left hand might rest is weared down a lot so it has a curve down and is even cracked along the purfling. The back has marks after having a chin rest mounted for both a right- and left handed player. Maybe it's been a student violin and used by many people? However, it only has marks in the c-bout on the treble side. It has been repaired in five cracks in the top and one in the side. The stamp on the inside looks a lot like the one of Christian Wilhelm Seidel, but especially the d is not as swung. I can't find anything anywhere matching this font. Does anybody recognize this branding? I can't upload my photos from my phone, so they're on Google Drive: https://drive.google.com/folderview?id=0B0fyVNePhekSc2hsa2xxT3pTSWM My last question is one that I know has been asked too often: It's horribly firty with rosin buildup etc, how should I clean it? I've done my best with a damp cloth, but it's not really enough. I've heard turpentine should be safe on rosin varnishes (this should be dragon blood according to the seller), and it seems to work, but I don't really like how hard the turpentine itself is to get off the surface. I'm not asking how I should clean my instrument casually, but how I should do if I want to be the amateur luthier who enjoys making old stuff play again. Lastly, of course I won't do anything stupid to a really good instrument while I'm still learning, and it will under any circumstanced be taken to my luthier when I get home before I touch it. Sorry for the long post, but I hope someone out there can help me. - Tobias :-)
  20. I have finished cleaning and setting up and adjusting an old probably German/Bohemian violin (the one I asked help identifying in this other post), and now I'm debating moving to a more hairy task with it: Varnish restoration! The violin has some scuffs and dings, but two that concern me are the ones on the lower bout bass side where a piece of it is actually chipped off, and on the back where some very aggressive shoulder-rest use seems to have worn through the varnish (please see pictures). The value of the violin is inconsequential, this is a work of love and for the sake of the experience, so I'm not worried if I mess it up, although I do have professional experience with restoration/conservation of vintage and ancient jewelry and swords (not exactly related, are they? ), so I am familiar with the delicate touch required, and the rule that less is more. What I'm wondering and hope you folks can help with is: First of all, are those spots issues that should be addressed, or would they normally be left alone unless a very pedantic customer insisted on them being restored? I have heard that bare wood is a bad thing and should be touched-up, but one shouldn't be neurotic to the point of touching up every little ding, but those spots are quite big in my opinion. What would be the most common way of restoring a chipped spot like that? Just varnish it over, or make a patch and glue it in place and the whole nine yards from there? Is there some relatively easy way to test varnish, to figure out if it's oil or spirits (shouldn't be anything else in this case I think)? Was there any relatively standard varnish preferred in the Schönbach area around 1900 (assuming it's from there) or are they all over the place? If there's no way to know what varnish it is, what would be the safest bet to go with for repairs? Oil? Spirits? Shellac? Something else? Are they relatively compatible or are they like paints where you don't put certain types over others? Thank you for your input!
  21. Who is planning on attending this workshop in Fredricksburg, VA? Joe Thrift is the instructor. Details are here.
  22. Hello MN - I am hoping you can help me with something. On the violin I have played for the past 15 years, there is a patch of worn varnish under the chinrest. This is located to the left of the end button and to the side of the chinrest brackets. It looks like a patch of varnish with a thick crackle with the veins of the crackle looking gray. I figured it was just wear from sweat and neck chub, haha. That was a student level violin with a thick, chippy, and red varnish to it. I recently got a new to me violin and after only playing it a few times already noticed wear in the same spot. Only on this instrument it appears as a patch of fuzzy/textured varnish that feels tacky to the touch. The leftmost chinrest bracket also is no longer shiny but matte black. It's a vintage instrument. I tried to capture it in photos but had trouble. I am still in the stages of really babying my new violin baby, and I personally feel that authentic wear on instruments is really interesting and adds to their story. BUT with that being said I do not want to damage the integrity of my violin, depreciate it's value, ruin that patch of varnish and wood any further, or create a costly repair. I'm probably overacting but I live by the "dose of prevention" motto. Is this something I should be super concerned about? Is there a way for me to clean that patch of varnish to smooth it out and harden it up again? Is there something in my perfume, makeup, lotions that could be causing this reaction with the varnish??? I'd like to know so I can be aware of that product and wash it off if need be Maybe it's just something with my skin... I've noticed that plated jewelry seems to change color quickly for me and I have really oily skin in general. I don't want to cover the chinrest and back with a cloth because it makes rhe violin feel too precarious. Any products I should look into to protect that part of the instrument? Thanks in advance for your help!
  23. I am currently repairing an old German violin. I've just finished a bit of touch up work and to my disappointment the new varnish is much more glossy than the original varnish. I used spirit varnish for the touch up work. Despite intially rubbing away the gloss with 0000 steel wool, it returns after a few moments of being left alone. Ive seen a few places recommend silica gel. If that is a solution how much should be mixed with the varnish? Thanks!
  24. Typically I am asked by customers to smooth anyway textured areas in varnish. I do this by wet sanding with 1500 micro mesh, then moving to 2400 mirco mesh, before finishing with 0000 steel wool. The result is effective as the textured area is now smooth. My concern however is that the micro mesh and steel wool leave small micro scratches in the varnish. They are very small and thin grey lines. Is there a way to avoid these scratches in the future? Thanks!
  25. So, on my functional violin, there are these two spots where there are parts of the varnish that are noticeably darker than the surrounding varnish and it does not look intentional. As you can tell from the pictures, the scroll is not bad but the one on the bottom of the violin is the most noticeable. Any ideas as to how this happens and if there's any way to make it less noticeable? Thanks