Nic nie udaje
Jak pan wie, to niech pan tłumaczy.
Pierwsze lepsze z brzegu:
http://brunkalla.com/FINISHES
"Many contemporary violin makers will concede that a violin sounds best with no finish at all!
However, as good as a violin "in-the-white" may sound, it would rapidly succumb to the ravages
of humidity, dirt, sweat, and whatever other hazards the player's environment has to offer. So,
the question is: how to best protect the instrument while least affecting the tone.
After experimenting with many different wood finishes, including the traditional varnishes, we
have come to the conclusion that a quality hand-rubbed Tung Oil finish provides the best
protection with the least dampening of tone. Even 30 coats of hand-rubbed Tung Oil are less than
0.0003" (three ten-thousandths of an inch) thick, and won't crack, craze, chip, or soften up from
body oils or sweat."
Oczywiście penwie jest 300 rodzajów wykończeń olejowych, no ale pan z warwola zaznaczył, że ich są b. cienkie i zgadzałoby się z moim amatorskim zrozumieniem tematu.
Edit:
"I prefer the shellac sealant over the other two options the glue is not as good at preserving a clear vision of the wood (gets cloudy or dark) tends to be brittle and hard too the sizing does not stick well to the oil varnish and it tends to sluff off or become gooey over time. The protective coating of sizing, shellac, glue, must be nearly removed after being applied until just enough remains to seal the instrument and provides a base for the oil varnish. Once the surface is sealed, the oil finish can be applied. (...)"
Czyli są wykończenia olejowe takie jak mówię - nie wchodzące w strukturę drewna.
Jakich stosuje Warwick nie wiem, na szczęście możemy się dowiedzieć, zresztą ich odpowiedź już to sugerowała.
Pierwsze lepsze z brzegu:
http://brunkalla.com/FINISHES
"Many contemporary violin makers will concede that a violin sounds best with no finish at all!
However, as good as a violin "in-the-white" may sound, it would rapidly succumb to the ravages
of humidity, dirt, sweat, and whatever other hazards the player's environment has to offer. So,
the question is: how to best protect the instrument while least affecting the tone.
After experimenting with many different wood finishes, including the traditional varnishes, we
have come to the conclusion that a quality hand-rubbed Tung Oil finish provides the best
protection with the least dampening of tone. Even 30 coats of hand-rubbed Tung Oil are less than
0.0003" (three ten-thousandths of an inch) thick, and won't crack, craze, chip, or soften up from
body oils or sweat."
Oczywiście penwie jest 300 rodzajów wykończeń olejowych, no ale pan z warwola zaznaczył, że ich są b. cienkie i zgadzałoby się z moim amatorskim zrozumieniem tematu.
Edit:
"I prefer the shellac sealant over the other two options the glue is not as good at preserving a clear vision of the wood (gets cloudy or dark) tends to be brittle and hard too the sizing does not stick well to the oil varnish and it tends to sluff off or become gooey over time. The protective coating of sizing, shellac, glue, must be nearly removed after being applied until just enough remains to seal the instrument and provides a base for the oil varnish. Once the surface is sealed, the oil finish can be applied. (...)"
Czyli są wykończenia olejowe takie jak mówię - nie wchodzące w strukturę drewna.
Jakich stosuje Warwick nie wiem, na szczęście możemy się dowiedzieć, zresztą ich odpowiedź już to sugerowała.



