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About Prostheta

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    "Looks just like a Telefunken U-47"
  • Birthday 07/18/1976

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    Pori, Finland
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  1. There's no one right way, as you would expect. Some methods just allow you to sidestep the otherwise less pleasant tasks such as sanding the stuff back. For me, that's the dealbreaker hence why I prefer buffing the filler in. The less sanding in the final phases, the better in my book.
  2. Sure. I get a peppery nose and slightly runny eyes, but no breathing issues. That said, I decline from working with it unless I get a really nice piece. Choice this side of the pond seems poorer than it used to be. Where'd you source yours?
  3. Interesting. I've never had trouble with Cocobolo beyond the dust, and in the finished item its always seemed more less inert. I guess it's more of a problem if you're already sensitised to it.
  4. This is exactly how I made the nuts for my first builds!
  5. I haven't written anything up about this as of yet, however I've discussed it briefly with @Norris and maybe @Andyjr1515 a little. Basically, the grain filler is rubbed into the wood with the grain, then buffed off against the grain with jute or other coarse sacking when it starts to set up. That removes most of the surface filler, leaving the pores more or less filled. Same as always, grain filling benefits from a couple of rounds at least so you can get some of the more stubborn ones nailed.
  6. There's a learning curve with grain fillers. You can either take the easy-hard route of letting it dry (easy) then sanding it all back (hard, or at least "annoying") or learn how to apply it and buff it back when semi-dry before a light finish sanding. I'm still mastering the second and almost there.
  7. After Tortilla Fridays, I wish I didn't have one the next morning. Speaking of which, it's Quesadilla Saturday. Hooray for Sunday eh?
  8. I'm gratified that you managed to find your ass, Mike. The times we live in! Seriously though. Nice to hear you on the positive. Have a great weekend yourself.
  9. No problem, always welcome. I think the word is definitely, "pop". Black just doesn't seem to provide that. I'm sure that this is not a hard and fast rule of course, however accentuating the rising and falling grain ("figure") in a piece is a balance of increasing contrast versus maintaining the 3D look (chatoyance). The extremes here are using black dye to increase contrast, which flattens the look of depth completely. The other end of the scale might be say, oil.....which enhances contrast minimally, but flatters the depth. I've wanted a black cherry instrument for a long time myself. I love the look....that kind of deep "black in the dark" but bright deep cherry in the light thing. It can be done with the black dye/sandback routine with plenty of clears and toners over the top, but I think some of the movement and natural depth in the wood is important to maintain otherwise it can be like a photo under glass if you get what I mean. Flatter the wood and then dress it, rather than bash it flat with a meat hammer and pressing it under glass.
  10. This is what happens when you French polish over Zebrano without grain filler. Notice the shiny highlights around each pore. The shellac doesn't fill the pores unless you do a light cut with pumice. That's just French polishing stuff though. A grain filler like Brummer (my favourite) or even watered-down wood filler works. Egg white is also usable, but requires practice.
  11. I personally dislike using black to highlight figure as it looks highly artificial and more like a photo finish or veneer. Try using dark browns or other colours, as they tend to look more natural. Either way, test on scrap and see what you prefer.
  12. Raising the grain is about removing damaged or unsupported fibres from the surface. Usually machine and sanding will damage and distort a lot of them, so as soon as a finish hits them they raise and create a furry uneven finish. Especially with water since wood fibres are hygroscopic. Simply wet the surface with a cloth (not wringing wet) and let it dry. Knock back any raised fibres with 240 or 320 grit. Repeat until water doesn't cause the surface to fur up. Grain filler is needed on woods that have open pores, such as Mahogany, Wenge, Rosewood, etc. Finish going over those will sink into the pores and leave an uneven surface with lots of pin holes. If that's not a problem, you don't need to grain fill. Otherwise, those pores need sealing up so you can build a flat finish over the top.
  13. I've been given the guidance of about 12°C for big heavy quads like that. Realistically, I think it's best enjoyed how you prefer it, rather than how you're told to enjoy it!
  14. If I get it finished in time, I'll share the tool I made (and how I made it) in a video segment.
  15. Slotting a board by hand is a combination of keeping the board secure, the blade level and that it doesn't wander around. I've a number of tricks which I use when slotting, which I even do when using a mitre slotting box simply as a second safeguar, such as using a pocket flashlight directly over the saw so that it casts a thin shadow over the board where it will be slotting.