#007 - Bolivian Rosewood Tenor

Sure, I'll put you at the top of the Beta Tester list. Oregonians have to stick together!
 
Ah, another lesson learned! I've heard that Tru-Oil doesn't set up over cocobolo but hadn't heard that Bolivian RW has the same problem. Now I know that it does. In spite of the CPES, I had to take off the Tru-Oil with naptha and 0000 steel wool. After more wiping with lacquer thinner to get all of the wood's natural oil off, a new coat of Tru-Oil seems to be hardening. As always, "Live and Learn" is the beginner's mantra.
 
Japan drier will help offest the reaction between the resins in Cocobolo and Bolivian Rosewood, and the synthetic driers in the Tru-oil, or other oils and varnishes. I use Japan drier every time I do any kind of oil finish on a Rosewood. Cocobolo and Bolivian Rosewood will seriously mess with the driers in many oils and varnishes. Japan drier is really cool stuff if you work with any types of oil based finishes.
 
For for surface building finishes that are curing too slowly, like perhaps varnish over Cocobolo, youcan actually help them to cure by applying a very thin coat of varnish thinned with naptha, with Japan drier added. Thin is key here, as you do not want the outer layer curing hard, then being drawn in to an 'alligator' skin effect by the layer beneath when it finally cures. Of course you were working in thin layers to begin with anyway. For oil, I have not tried curing a previous layer, but I got the idea to try it a long time ago watching a friend who was oiling a Bolivian Rosewood countertop. I already knew about Cocobolo and how it's natural resins can react with the driers in oil finishes. I think it will help in the case of a finish in process that needs some help curing. As I said, I use Japan drier in my oil finish every time when going over Rosewood. I also carefully wipe with acetone prior to oiling, being mindful of the residue trails that are left, trying to be clean, and wipe off the residue completely before proceeding. It is truly amazing how much resin is in Cocobolo, and can be drained out by acetone.

In using Japan drier, it is very potent stuff, a few drops, maybe up to half a teaspoon in 4 oz if you are really brave ( in thinned oil, not varnish! this is too much for varnish) I often thin my oil over Rosewoods ( and use J. Drier as I said) This allowsdaily, or almost, coats. If you start building a finish, and it is not fully cured ( over a Rosewood, etc) it is possible to wipe bare spots in successive coats. I have not seen this often, but have seen it ( mostly on Ebony) Mix enough oil for one day, and never add the mixed oil ( J. drier added) back into the fresh finish, as it will ruin it. J. drier gives you a 'pot life' of about 12 hours, maybe 24-36 if you are brave and know when to bend the rules.

Experiment! but... Japan drier is your friend....




On a different subject... Shellac will adhere to Rosewoods well
 
Wow, that uke is breathtakingly beautiful.

I have to wipe the drool off my keyboard now. :D
 
Skitzic: Thanks! And I'm very impressed with your post count. You really need that keyboard so I hope it didn't short out from the drool. ;)

Chris: You da man! I'm headed in the right direction now. A little googling turned up a bunch of discussion about Japan Drier in Tru-Oil, mostly on firearms forums. Another tip I found was to put it in the sun to get some UV. So, my wife obliged while I was at work today by making sure the body stayed in the sun for a while and by turning it regularly so it got an even tan. Maybe I'll get this one done soon, which would be nice.
 
Finished at last! It was strung this morning with Southcoast Light Mediums and sounds nice so far. Once the strings settle in, I'll put up some sound clips.

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Bravo! Well done. If she sounds half as good as she looks, you've got a winner. Congrats.
 
Gee David, it's absolutely stunning. Those pictures have been well worth the wait. Amazing work.
 
It is BEAUTIFUL! all those small details and yet it still looks simple and elegant. Cannot wait to hear it.
 
Thanks to all for the kind comments.

The Southcoast strings are really impressive on this instrument and deserve a big plug. Each string has a clear voice in proper proportion to the others, yet they blend together into a overall sound that is very pleasant. I found the same when I switched a Kanile'a tenor from Worths to Southcoasts.
 
inspirational

Simply BEAUTIFUL! I am a fan of pau ferro and currently have a baritone under construction at Mya-moe . Check #783 on their instrument tracker to see a unique grain pattern on the PF back, and contrasting maple binding. I am starting my 1st build with a kit that I plan to make custom changes to the top wood, rosette, bindings and other cosmetics. (don't have a bender and, depending on the outcome, might be my last build.)

Thanks for your posts, I've already picked up some valuable tips. Excuse me now, I've got to go back and drool over your pics.
 
Wow! Number 783 is a beaut. The back is really beautiful.

Good luck with your build and be sure to post some photos. I'm always interested in seeing how others do things.
 
bariukish - Since you are a pau ferro devotee, I should mention that I have a pau ferro and redwood concert in the finish stage. It should be making some sound in a week or two and I'm anxious to hear it!
 
Thanks for the encouragement. Looking forward to seeing pics of the new one.

I think we should change the name of pau ferro to: POW! ferro
 
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