Richard Pope Posted January 13 Report Share Posted January 13 I've seen violins that have a yellow color neck stain, while others have kind of a gray neck stain. I bought some neck stain from International Violin but it just sealed the wood and didn't change the color or enhance the flames on the neck. What I'm asking is if I want that gray look on the neck of my violins, what method is used to achieve that. Thanks! Quote Link to post Share on other sites
Rue Posted January 13 Report Share Posted January 13 I think that's called dirt... Quote Link to post Share on other sites
______ Posted January 13 Report Share Posted January 13 I used to think that labels are all that matter. Quote Link to post Share on other sites
Richard Pope Posted January 13 Author Report Share Posted January 13 32 minutes ago, Rue said: I think that's called dirt... HA! Quote Link to post Share on other sites
Richard Pope Posted January 13 Author Report Share Posted January 13 I don't know if you can tell from this picture, but this is what I'm talking about. Quote Link to post Share on other sites
Jerry Lynn Posted January 13 Report Share Posted January 13 The easiest way I’ve been able to achieve a greenish/grey tint on a neck stain is with tea steeped in alcohol. It might not be entirely what you are looking for, but it’s an okay starting point. Takes some experimenting to find one that looks right. I found a cheap black decaf tea under my local supermarket’s house brand to deliver want I was looking for. Sometimes I’ll use it in conjunction with sodium nitrite/tanning regiment Neck treatment Quote Link to post Share on other sites
Davide Sora Posted January 13 Report Share Posted January 13 3 hours ago, Richard Pope said: What I'm asking is if I want that gray look on the neck of my violins, what method is used to achieve that. Thanks! I once tried with iron acetate, made by dissolving some steel wool in vinegar and diluting a lot with distilled water. The effect was too gray for my taste (I prefer yellow/gray), but it wasn't bad. If the gray of old and dirty necks is what you are looking for, it may be worth a try. Always try on scraps first. Quote Link to post Share on other sites
rudall Posted January 14 Report Share Posted January 14 14 hours ago, Jerry Lynn said: I found a cheap black decaf tea under my local supermarket’s house brand to deliver want I was looking for. Does it give a more mellow tone? Quote Link to post Share on other sites
Jerry Lynn Posted January 14 Report Share Posted January 14 2 hours ago, rudall said: Does it give a more mellow tone? Only when combined with meditation. Quote Link to post Share on other sites
DutchViolins Posted January 14 Report Share Posted January 14 17 hours ago, Richard Pope said: I've seen violins that have a yellow color neck stain, while others have kind of a gray neck stain. I bought some neck stain from International Violin but it just sealed the wood and didn't change the color or enhance the flames on the neck. What I'm asking is if I want that gray look on the neck of my violins, what method is used to achieve that. Thanks! This question came up some 15 years ago. Here I give the link in which I described a useful method: https://maestronet.com/forum/index.php?/topic/311643-neck-flame/&tab=comments#comment-316555 Good luck! Quote Link to post Share on other sites
Mike Spencer Posted January 14 Report Share Posted January 14 I use a strong tea brew in water. Be sure to sand very fine first then wet with water to raise the grain then sand again. I do this a few times before applying the tea stain. Let it dry then sand lightly and apply the stain again. I typically finish the neck before varnishing. I finish my neck with boiled linseed oil. Wipe it on then off and let it dry a few days then do another coat. Quote Link to post Share on other sites
Wood Butcher Posted January 14 Report Share Posted January 14 This will all help to make the bought in white violins for sale on ebay less new looking. Quote Link to post Share on other sites
jacobsaunders Posted January 14 Report Share Posted January 14 I posted the finish that I have used on violin necks for decades years ago here. Seems infinity more straight forward than many of the suggestions here https://maestronet.com/forum/index.php?/topic/333834-ground-on-violin-neck/&do=findComment&comment=709205 Quote Link to post Share on other sites
Mark Norfleet Posted January 14 Report Share Posted January 14 Are non-expert contributions ok in this thread? Quote Link to post Share on other sites
jacobsaunders Posted January 14 Report Share Posted January 14 24 minutes ago, Mark Norfleet said: Are non-expert contributions ok in this thread? I'm sure he will make an exception for you Quote Link to post Share on other sites
Mark Norfleet Posted January 14 Report Share Posted January 14 7 minutes ago, jacobsaunders said: I'm sure he will make an exception for you Let's hope so. I wouldn't want to offend the Pope. Quote Link to post Share on other sites
Bodacious Cowboy Posted January 14 Report Share Posted January 14 2 hours ago, Mark Norfleet said: Let's hope so. I wouldn't want to offend the Pope. You may have to kiss the ring as a penance. Quote Link to post Share on other sites
Michael Darnton Posted January 14 Report Share Posted January 14 This isn't one-stop shopping, IMO. I always try to bring out over the whole neck the underlying color of the wood under the varnish, while building the bare wood age effect (without dirtiness or abuse) in addition to that so that I don't have the situation of a neck that looks like it came from another instrument. As a general rule, restorers should avoid developing a uniform personal style, color, approach to their work and applying it to everything that makes it easy to say who did it. The best job looks like nothing has been done. That's my opinion, anyway, and it's why each neck is a different problem. Quote Link to post Share on other sites
Mark Norfleet Posted January 14 Report Share Posted January 14 2 hours ago, Michael Darnton said: This isn't one-stop shopping, IMO. I always try to bring out over the whole neck the underlying color of the wood under the varnish, while building the bare wood age effect (without dirtiness or abuse) in addition to that so that I don't have the situation of a neck that looks like it came from another instrument. As a general rule, restorers should avoid developing a uniform personal style, color, approach to their work and applying it to everything that makes it easy to say who did it. The best job looks like nothing has been done. That's my opinion, anyway, and it's why each neck is a different problem. Exactly. Thank you Mr. Darnton. Quote Link to post Share on other sites
Jerry Lynn Posted January 14 Report Share Posted January 14 3 hours ago, Michael Darnton said: As a general rule, restorers should avoid developing a uniform personal style, color, approach to their work and applying it to everything that makes it easy to say who did it. The best job looks like nothing has been done. That's my opinion, anyway, and it's why each neck is a different problem. Absolutely! Well said. Quote Link to post Share on other sites
David Burgess Posted January 14 Report Share Posted January 14 Does anyone object when the work and methods of the historic Hill shop can now be sometimes easily identified (including their bows)? Does it devalue the work, or enhance it? Quote Link to post Share on other sites
Strad O Various Jr. Posted January 14 Report Share Posted January 14 Given the OPs penchant for buying new Chinese violins on ebay with the tell tale white neck, it seems there is some desire to hide the fact that these violins are brand new, and labels we see claim to be older Italian work, it seems that helping the OP disguise his purchases to make them look older might be aiding and abetting? Quote Link to post Share on other sites
David Burgess Posted January 14 Report Share Posted January 14 8 minutes ago, Strad O Various Jr. said: Given the OPs penchant for buying new Chinese violins on ebay with the tell tale white neck, it seems there is some desire to hide the fact that these violins are brand new, and labels we see claim to be older Italian work, it seems that helping the OP disguise his purchases to make them look older might be aiding and abetting? I do often think about stuff like that. Quote Link to post Share on other sites
Michael Darnton Posted January 15 Report Share Posted January 15 2 hours ago, David Burgess said: Does anyone object when the work and methods of the historic Hill shop can now be sometimes easily identified (including their bows)? Does it devalue the work, or enhance it? When I see Hill bows that look like Hill bows, that's a good thing. I don't get positive vibes from seeing a Strad with shiny edges characteristically Hill-coated in bulletproof shellac or the characteristic shiny bulletproof patches of retouch that will be there alone forever standing proud until someone scrapes them off. What others feel I can't predict. Quote Link to post Share on other sites
violinoalto Posted January 15 Report Share Posted January 15 Hi You can use 1. JOHA Water stain 428 old golden brown 2. JOHA figerboard oil + pumice 3. Shellac (+ pumice) When the flames are weak or missing, someone uses a weak solution of potassium permanganate, KMnO4. This allows you to make the flame artificially. You can weaken the permanganate solution with a small iron nail so that the oxidation is not so strong. Quote Link to post Share on other sites
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