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FYI new violin varnish research technique


Roger Hill
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  • 3 weeks later...

Sorry for the long delay - at my age I'm easily distracted.  My above reply was intended as sympathetic humor rather than a serious admonition.  In reply to your question above - I'm sorry but I have no idea how to respond to your request.  My interest in post-mortem examination of classical violin varnish goes no further than general characteristics, and after a brief brush with plate tuning I pretty much passed on it in favor of other construction principles. 

I rely more on Occam's razor - the simplest of the techniques used by successful professional makers, or if I can't get that information then the simplest technique I can come up with that gives me something at least superficially similar.  Plate tuning isn't part of that, and exotic varnish formulas aren't part of that.  I also tend to work with what I have at hand and admittedly I've had inconsistent success with both varnish and tone.  And in case the question arises, I'm not in the class of most posters on this forum, but I do make violins.  The top two photos are a large model from 2013 and the lower two a smaller model from 2021 (first time posting photos - hope this works....)

bv1a.thumb.png.6e327b2f1b58ccc6b724ac4899fc9d7c.png

bv2a.thumb.png.c66d870000b7e50f61d9281718a94234.pngbv3a.thumb.png.83bed226ccf2a9c1287cb40a82dd9fc4.png

bv4a.thumb.png.5b621eb02a002db8a9b6b8356404b593.png

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