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Janito

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From a ship?  Security?  Or buzzer?

 

At Montacute House:

https://www.nationaltrust.org.uk/montacute-house

 

Really interesting outpost of the National Gallery featuring a room with many of Henry VIII's senior ministers (many of who were 'removed' for 'treason'):

https://www.nationaltrust.org.uk/montacute-house/features/the-national-portrait-gallery-and-montacute-house

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Finally getting a break from varnishing - it's a real pain not to be able to create dust.

 

Tackling a long overdue regrad of a red spruce top. Very difficult wood to work cleanly, but good fun!

 

Learned a few things: 

> 3 out of 10 for sealing - clear evidence of varnish on inside of some rib sections and along some curls of very curly maple.

> Bassbar measurements were off piste - trim.

> Post hoc opportunity to take some measurements is OK, but no 'pre hoc' to compare.

post-24474-0-79336100-1481495320_thumb.jpg

post-24474-0-46752700-1481495348_thumb.jpg

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The fractures have healed, the soreness is passing and the voice is returning slowly.

Derek, What happened?!  Glad you're recovering from...whatever.  Violin: Very nice!  Did you soften the edges of the f-holes?  Just a question not a critique.  The fittings are very attractive and appear to be a set.  Who made them?

 

Thanks,

Jim

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What happened?! 

 

To me, nothing, but to the violin post #156 shows the glue fractures :).

 

The varnish is relatively thick and gives the impression of softened F edges from the way it settled and cured. The angle of the photo also contributes to that impression.

 

I cannot remember where the rosewood fittings came from :(.  Could be from Classic Violins (https://www.classicviolins.com). Petio Kostov has some very nice fittings.

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3M Finesse-it II Glaze after polishing with very fine pumice followed by rottenstone using oil.

 

Leaves a very transparent varnish with no cloudiness or film deposit.

post-24474-0-34712700-1481736762_thumb.jpg

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Glad to hear you're both doing well.  I guessed the softened look on the f-holes was the varnish, but nice to have it verified.  Good information on your polish procedure.  I plan on working on my back more to clear things up a bit once the shop is back up and running.

 

Thanks,

Jim

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As part of the Neil Ertz violin team, I will be doing some work on the front plate.  In preparation, and because I will be making one in parallel, I have been looking at the information I have on the Kreisler.

I have attached two photos to show the remarkable difference on colour tone of the Strad poster and the Hargrave et al book.  Note the different dates in the 2 publications. 

Also, the long arch of the front of the Kreisler is very similar to the back of the Vieuxtemps!

GdG Kreisler_1730_1733_Front.jpg

GdG Kreisler_1730_1733_Back.JPG

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On 1/13/2015 at 6:48 PM, Janito said:

Sounds like...

 

On 1/14/2015 at 0:16 AM, Peter K-G said:

Sounds great :)

Two years later I can confirm this prediction. :)

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12 hours ago, Janito said:

 

Two years later I can confirm this prediction. :)

Awesome!

It really takes time (1-2 years?) for a violin to mature its personality. Last week I made a new (longer) soundpost for the violin I finished in spring 2016. Now it carries out as it should. I now know it is a good idea to stress the backplate before closing the soundbox, this I didn't do on this one. On two previous ones I did and they stabilized more quickly (~6 months).

 

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1 hour ago, Peter K-G said:

Awesome!

It really takes time (1-2 years?) for a violin to mature its personality. Last week I made a new (longer) soundpost for the violin I finished in spring 2016. Now it carries out as it should. I now know it is a good idea to stress the backplate before closing the soundbox, this I didn't do on this one. On two previous ones I did and they stabilized more quickly (~6 months).

 

Derek,

 

How do you stress the backplate before closing?  Thanks in advance.

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3 hours ago, violins88 said:

How do you stress the backplate before closing? 

I don't do anything to the back plate before gluing to the ribs, so I hope Peter K-G outlines his stress method.

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8 hours ago, Peter K-G said:

I posted the answer on my site:

Thanks.

I would probably use the term "preconditioning" as you are altering the shape of the back to reduce the amount of 'new' distortion that would be caused by the soundpost. Presumably that is why you notice that the sound stabilises faster.

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Finally getting my act back in gear after an extended period of varnishing (and significant distractions).

Trying a new viola model - I like the proportions now that they are in 'real wood'. Interested to see how it will work. 

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Here is a photo of the plates so far.

It will end up at approx. 16 1/2".  The width across the C bout will be approx 140mm and the F hole nicks (bridge) are likely to be at approx 215mm.

The Cs are just a little larger than on a violin, but don't look 'off balance'59ad88178f227_Viola2017_outlinerougharching.thumb.jpg.65eed7bab4bcd64c1df83ef1d9fcd385.jpg.

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I made this adaptation of the Stew Mac purfling gizmo to allow me to use a router bit with sufficient clearance for an edge thickness up to ~ 7mm.

Thanks to Kelvin Scott for telling me about the Stew Mac adaptation for use as a router.  Before I used do this (painfullly) with a chisel and plane.

Modified Stew-Max_Adapted for Router bit.jpg

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