On Wed, Mar 25, 2009, Daniel Winheld <[email protected]> said: > To the Collective Mind of Cosmic Lute Wisdom- especially the luthiers > amongst us- What is a good finishing product to put on a lute/vihuela > neck?
Not an easy question to answer. You might do some research on finishing before proceeding, technique is important with some methods, and surface preparation is important to all of them. Safety is a concern, most of the solvents are not something to be breathing casually, yet, you need to be close to the work so you can see and touch it. A hood is used comercially (OSHA regulations oblige it), but many small shops get by without, depending on fans and the like. Moderate air movement is good, but not a roaring gale; you dont want dust in the airstream which will coat the product; and you also dont want the airstream redecorating the walls, furniture, books, pets etc downstream of where you are working. The maker should be contacted if you can, to find out what he used on adjacent surfaces so you can be compatible with it. If the neck was veneered, you need to consider the glue used, whatever solvents are used in your coatings can affect the bond in some cases. A barrier, such as shellac, will help prevent that. Density variations and wild figureation of some woods is best seen when emphasized by the application of dye, this includes cherry, figured maple/sycamore, walnut and many others.The dye is often mixed into an undercoat, such as shellac. Sometimes an undyed layer of shellac is applied to moderate the accentuation; perhaps better matching a plainer wood used nearby. Faux finish can be used to decorate plain wood, perhaps some interlaced vines might be painted on; perhaps a coat of arms and motto, perhaps some arabeque borders. A Barrier underneath the paint will prevent it wicking into the wood grain. Note that the formulation of shellac has changed since the time lutes were 'golden', once it was a natural product, derived from the crushed shells of lac beetles. now it is a plastic. The solvent has always been alcohol as best I know, and the white variet6y is the base product, orange/yellow shellac is white plus a dye. If you work with tinted shellac you wil discover the density variations in your wood, and may not like the 'blotching' it reveals. An undercoat of white shellac mitigates that. Lacquer can be brushed on, but is far more easily applied with spray equipment; good spraying gear is expensive and requires diligent maintenace. Many different products are available for cars and furniture (and other applications). You have a choice of technologys, and should do some reading. There are forums where guitarmakers can be consulted which have archived discussions as well as live. There are books in your local library, and also from online vendors (Stew-Mac). alcohol. > I had to scrape down the neck of my vihuela, now it's time to > seal & protect it; and wonder what, especially, could stand up to the > abuse of sliding gut fret knots the best? The maker of the 8c I own used french polish to apply several layers of shellac to the body, and presumably also the neck (both are lightly figured maple). I think the fingerboard is rosewood, not sure if it is finished at all. > I don't care about historically informed finishes per se Consider that you are closer to the historical finish technology than to more modern ones, spraying equipment is expensive, requires diligent maintenance, has a learning curve, and can get you in trouble with landlord, neighbors, and the wife. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
