Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Violin Cleaner Recipe Violin Q & A: Violin Cleaner Recipe by George Manno Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie Volume One, 2000 Do you know the recipe for making the old Sacconi special violin cleaner and polish? I have tried just about everything but can’t come up with the right recipe. No, I’m sorry I don’t. You may want to break this down into a smaller recipe, but here’s a formula for a very good cleaner. 2 qts. alcohol (denatured) 2 qts. turpentine (artist grade) 1 qt. distilled Water 1 pt. raw linseed oil 1 pt. pure lemon oil
Posted on January 13, 2010February 7, 2024 by Dale Phillips Questions: Full Sized Violin Molds Questions: Full Sized Violin Molds by Henry Strobel Originally published in American Lutherie #58, 1999 Pat Montenegro from St. Angelo, TX asks: Where can I get full-size violin molds? Henry Strobel of Aumsville, OR responds: Most people make them rather than purchase them ready made. My books on violin making should be of help. (For more information on Henry Strobel’s books see reviews in AL#39.)
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Lightfast Colors Violin Q & A: Lightfast Colors by George Manno Originally published in American Lutherie #11, 1987 and Big Red Book of American Lutherie Volume One, 2000 I’ve been using water colors for touchups and repairs in the last five years, but some of the colors are starting to fade out on the older repairs. I use Pelikan transparent watercolors #725. What else can I try? I have used many different types of color over the years with varying degrees of success. As you are finding, knowing how a color will fade is as important as color matching at the time of touchup. The only colors I use now are analine dyes I purchase from Horn & Son String Instruments, Inc. (2570 Superior Ave, Cleveland, OH 44114). They have powdered colors for spirit and oil and I find them to be extremely true. With yellow, red, and brown, you can match just about anything. In the last five years I’ve had no problems whatsoever. A word of caution: Fluorescent lighting tends to fade any color. Be advised that analine dyes are carcinogenic.
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Violin Varnish Recipe Violin Q & A: Violin Varnish Recipe by George Manno Originally published in American Lutherie #10, 1987 and Big Red Book of American Lutherie Volume One, 2000 I have been experimenting with varnish making for the last four years. I have read just about every book published on the subject. I have written to makers in this country, as well as to makers all over the world, asking their advice and comments on my recipe, but not one of them has replied. I am enclosing my oil varnish recipe for you to see; it’s not very complicated. The color is a rich golden brown; the only problem is that it won’t dry. pine gum resin gum rosin (colophony), WW grade linseed oil turpentine spirits Do you see anything wrong with this formula? Not knowing how much of what you use to make this varnish makes little difference in what I see wrong with your recipe. First, the presence of rosin or colophony in your varnish will not allow the other ingredients to become palmitic, therefore it won’t dry. Another thing, the rich golden brown color that you have now will fade once exposed to any kind of ultraviolet light. Leaving out the gum rosin will give you the beginning of a good spirit varnish. As for a colorant, there are a number of dyes that can be mixed with your now-spirit varnish to complete it. Please contact Mr. Ed Campbell of the Chimney Violin Shop, 614 Lerew Road, Boiling Springs, PA 17007. He’d be more than happy to help you with your ongoing experiments.
Posted on January 13, 2010February 7, 2024 by Dale Phillips Violin Q & A: Cello Bridge Change for Projection Violin Q & A: Cello Bridge Change for Projection by George Manno Originally published in American Lutherie #10, 1987 and Big Red Book of American Lutherie Volume One, 2000 I have a good French cello that I just can’t get the sound to project from. The tone has a very fine quality, but it all seems to be locked up inside of the instrument. I have cut a new bridge and soundpost, but still it’s not anywhere near what it should be. Do you have any suggestions? Without seeing or hearing the instrument, I’m not sure what you mean when you say that the sound is “locked-up.” I’m only guessing, but it could be the strings, or the placement of the soundpost, or even the bridge. Did you spread the feet far enough when you fit it? I will tell you this, when I’m working on a cello that has a good strong tone but doesn’t project well, I’ll use a Belgian-style bridge. The higher arching of the feet always works for me. Try this and let me know.
