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You could have used cross grain low stiffness for small violas where it might be beneficial to have low mode frequencies which are normally only seen on large ones. Model airplane gliders are similar to violas where you want a long time aloft before hitting the ground.
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Do you think that it would be relatively easy to create a fake Burgess violin 20 years from now?
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I agree!
- Today
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Looking for an alternative to pigments in spirit varnish...
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May I inspect your center joint? I don't doubt that just about any ol' plane will do a decent job, given enough time, and skill working around the various deficiencies.
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The inherent uncertainty of attribution in conjunction with the rampant fraud.
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What, specifically, is ludicrous?
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After searching multiple threads, I cannot find specific installation instructions for proper parchment under the A string of a cello bridge. Sure, it’s of course the same on violin family bridges... so, soaking the parchment in water, quickly dabbing with CA glue is a general guideline. However, what methods are the most effective for making sure the parchment is perfectly glued in the groove? I fear that if perfect downward force is not applied then it will affect the natural timbre of the A string. I also understand that straight CA glue is preferred by some, however, I’d prefer the parchment if the tone is unaffected with a perfect install.
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Well - let's just step back a minute - take a deep breath...and look at the complete entire big picture with a clear unbiased eye: The whole thing ludicrous. But - I suppose that's part of the enduring mystique. So - carry on!
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Why tho?
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I'm not so sure about that. While I have in the past employed helpers to do things like plane plates flat, rough out archings with a gouge, rough out graduations, and make lining stock, I've done everything myself for at least 20 years.
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I haven't managed to color shellac successfully with heat, nor combine it with a vegetable oil using heat. But your results might be different, so give it a go if you want to. I don't see anything more dangerous about trying that in a small batch, than lots of common varnish-making heating regimens.
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Sometimes we just have to give up and defer to a higher authority. I'm sure Andreas is right that through careful study of minute details of construction one can make a good guess, but ultimately I think the problem is more the expectation of the buyer. We are so enslaved to this notion of a violin as an authentic artwork made by a single pair of hands, and yet violin-making has never really been like that. If dealers were a bit braver, and just started talking about violin-makers as they really are/were (ie. someone in charge of a small team) then we wouldn't get into this sort of mess.
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JTElevenoyd joined the community
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I don't think so. I have seen many Jackson-Guldans, and I don't think this is one.
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Shellac is often heated/melted during processing so it will stand some temperaures. I don't have an idea about temperature it will stand without burning though.
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I don't know about how easy they might be to fake, but for the reasons you describe I generally enjoy a chance to see/play a Scarampella. Not so much with the other fella.
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Very clever!
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As many here know, I have no fear in undertaking experiments the results of which might call into question my judgement. But before I waste materials, should I even try cooking shellac or will it just burn? The purpose of the experiment is to see if cooking imparts color. I know it ain't colophony, but curiosity has this cat by the throat. I'm not talking about warming it in alcohol in a water bath a la the preparation of spirit varnish.
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OMG! How can anyone actually ever learn anything with any semblance of confidence?
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Jim, your workmanship is looking super clean and crisp. I'm looking forward to seeing the varnish progress.
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I'm not sure ... there is a class of violin made in the late 30s which was so close to a Scarampella as to be pretty indistinguishable, and which were given a genuine Scarampella label, but dated before Scarampella's death. These are now described and sold (by the ethically minded) as Gaetano Gaddas, but I'm sure they were passed off as Scarampellas at the time - as they are today.
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The varnish wear on the back looks spot on. nice work!
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The plane that I use to finish join, (maybe the Craftsman isn't flat?) doesn't have a frog, isn't steel or bronze, and doesn't have a chip breaker OR an adjuster. And it works too. It's just set up for such tiny slivers, it takes a while if the edge isn't really true already. The Craftsman is heftier, and that keeps it from bouncing around when the wood isn't flat. It gets things flat a lot faster, and more easily. The rosewood plane is harder to keep flat.
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I feel like I'm missing out here. My plane has no frog, it isn't even steel, it was second-hand when I bought it. Other than sharpen the blade and oil the adjuster, I haven't done anything to it, yet it does centre joints perfectly. I doubt it will pass an MN inspection however.
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That is an old school computer microphone.
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