The Color Purple
juvenal
would be softer, cherry maybe. Anyone seen one, want to see one, never want
to hear of such a thing again? Thinking of sawing up the parts and adding
it to the pile.
Timothy Juvenal
Phil Clark
to look and sounds okay, nothing special though. Mostly it's heavy.
Phil Clark
juvenal wrote:
--
http://whitehallchurchofchrist.com
This page is what I manage for the Lord
http://home.earthlink.net/~pclark10
This what I build for amusement since retirement.
juvenal
"Phil Clark" wrote...
> I've got one on hand with purpleheart back and sides and spruce top. It's
pretty
> to look and sounds okay, nothing special though. Mostly it's heavy.
Thanks for the info. I guess it doesn't make sense to build a purpleheart
dulcimer just because I have purpleheart.
Timothy Juvenal
GRRRBOY
silica embedded in it worse than any wood I've ever worked with. This will
dull blades. It also burns really easy when sanding..like on a belt or drum
sander. The purple color will change to a brownish with time if you don't use
a finish with good UV protection. Other than that, it actually should be a
good soundbox material..just get it down to at least .10" thick. I would not
go with another hardwood for the top...use redwood, cedar, spruce...or quarter
sawn pine. A dulcimer with purpleheart/cherry combo might be quite muted. I
have used purple heart for trim and fretboard caps on maple/spruce dulcimers.
It's pretty striking as in contrast to the white of the maple and spruce. Good
Luck.
juvenal
"GRRRBOY" wrote...
> I
> have used purple heart for trim and fretboard caps on maple/spruce
dulcimers.
> It's pretty striking as in contrast to the white of the maple and spruce.
I think that's the way I'm going to go. It looks like it will be useful for
bindings, caps, even fretboards and bridges. I like the idea of using on a
blond guitar.
Timothy Juvenal
David
"juvenal" <juv...@juvenal.com> wrote in message
news:oVaD5.616$WC3....@nnrp1.ptd.net...
Hi Tim,
the trick I've found for working with some of these woods is to use two or
three coats of clear Penofin (wipe an hour after each coat, then wait a day
between coats). When you have built up a nice satin finish with the pores
mostly filled, let it dry for at least six days, then finish with coats of
Cabbot's clear outdoor Urethane Varnish.
Be sure to put the lid back on the Penofin, because it has been known to
cause mutations in naked mole rats, and they will come for miles and throw a
rave party in your shop. This could lend a 'dirty, hairy' texture to your
slow-drying finishes.
David Enke
Pick-up the World
www.pick-uptheworld.com
pic...@rmi.net
800-375-2656>
juvenal
> the trick I've found for working with some of these woods is to use two or
> three coats of clear Penofin
What is Penofin?
> then finish with coats of
> Cabbot's clear outdoor Urethane Varnish.
I don't use polyureathane in my shop; mostly I use water-based lacquer, and
solvent based when neccessary for restorations.
Timothy Juvenal
David
Penofin is the brand name of a special finishing oil that has a very deep
penetration, and a ton of U.V. protection. I get it at most hardware stores,
though the transparent is not as common as the tinted.
As for the Cabbots, it is also very U.V. resistant, and I either brush it
on, or do the initial coats by brush, then the last two or three with a gun.
It melds into previous coats really nicely, but it is essentially floor
finish, and is a piece of work to rub out compared to most lacquers. For
acoustics, I get the entire instrument filled with the Penofin, rub it to a
even satin sheen, then hit it with one very carefully applied thin coat of
Varnish. It comes to full hardness in about a week, and is excellent
sounding.
I have never tried putting water based over oil-based, so I am at a loss as
to what to expect from that.
What my experience has been with the water based finishes I've used is that
they don't penetrate like the oils, and the color is a little lighter. What
kind are you using, Tim?
David Enke
Pick-up the World
www.pick-uptheworld.com
pic...@rmi.net
800-375-2656
"juvenal" <juv...@juvenal.com> wrote in message
news:7iTD5.1658$WC3....@nnrp1.ptd.net...
juvenal
"David" wrote...
> I have never tried putting water based over oil-based, so I am at a loss
as
> to what to expect from that.
> What my experience has been with the water based finishes I've used is
that
> they don't penetrate like the oils, and the color is a little lighter.
For cabinet work, I occasionally spray water-based lacquer over Minwax
stain, which is just pigment in a thinned linseed oil vehicle. The
water-based adheres fine as long as the oil is thoroughly cured first.
For finer work, including instruments, I always use water-based aniline
dyes. Water-based anilines are more light-fast than alcohol-based and
oil-based dyes. When applying the dye, I saturate the wood with the dye -
and I mean soak it on good. Then I wipe the excess of the surface with a
damp cloth. The results are deep penetration and exceptional clarity and
enhancement of curly figure.
The lacquer I use is Hydrocote Resisthane Pre-Catalyzed. It sprays real
well with HVLP, with very little overspray.
The major disadvantage of water-based, in my experience, is that the
water-based is clear. Really clear; it lacks the warmth of nitrocellulose
lacquer. If you try to build it up too thick, it just ends up looking
plastic-y. The eye is used to the amber depths of nitro, so one has to
compensate by staining or dyeing with a warmer tone when using water-based.
The major advantage of water-based in an HVLP gun, is that when the
Department of Environmental Protection paid a surprise visit to my shop last
year, they kissed me and hugged me and grabbed my hand and danced a little
jig, gave me a ton of free literature, and then blew kisses and shouted "We
love you!" as they drove away. Try _that_ with solvent based!
The troubles with varnishes are the lack of burn-in and the long cure time.
O.K. for fine violins, but impractical for production work.
Timothy Juvenal