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  2. I think I have seen more bad ones than good ones. On the other hand if you liked this violin it seems like it is at lower end of his price range. It might be a bargain and you could just make a little lone ranger mask for it, or a blindfold, or COVID-19 mask, or....... (I'm having a lot of fun with the many opportunities available here :-) DLB
  3. Today
  4. More pictures. The bow is unmarked and the extra photos aren’t very good but don’t show anything interesting. But the violin is interesting although the scroll looks awful. What sayeth the crowd?
  5. The backs are generally quarter sawn too. Slab backs are the exception.
  6. Agreed, if that is right (I don't see any disqualifier in the pics) then the price is in range. Part of what you are paying for is the reputation of the shops claim on it being correct. I'm not sure about the branding and serial on the ones before 1920, just have never seen one. I would be interested to know what the earliest ones where like (Id-wise). $8k-$12K for the 1920's Roths is common. Below $3K is a very different Roth (60's-70's). It's a pretty violin. Reminds me of a 20's Roth.
  7. Pergo floors, I think these are the ones below. They are more rubbery feeling on the bottom than felty. I can't guarantee no walk, but I didn't have to move the bench back after planing a back post joining. https://www.ebay.com/itm/Non-Slip-Furniture-Pads-Premium-8-pk-4-Furniture-Felt-Rubber-Protector-3M/153890820410?hash=item23d49b913a:g:dQsAAOSwiG1dJAPs
  8. FWIW, the winning bid of the Guarneri Biddulph books on the lastest auction paid just under $2K for the set. jeff
  9. Yesterday
  10. The felt ones? What type of flooring?
  11. I purchased a bow from David H. Forbes last year that's an even more radical throwback
  12. For me it's: F holes Edgework Scroll (volute) Arching Bass bars Ribs Purfling Ribs & linings Blocks Pegbox (eww)
  13. I just finished a violin. I had already made the ribs some time ago, so I kept going in that direction, body, then the neck. When I finished it, I started another with the neck, because I had just carved another, liked what I'd done, and felt in that groove, so why not ride the wave?. Now I'm working on the body. Generally, I try to do what I feel like I can do best at that moment. If that's not working, I switch to something I think I can do well.
  14. I saved this picture from somewhere, sometime because it looked efficient. I haven't tried it. What I practice is something that I feel weak about, or something that's caused improvement in the past. For the last couple nights I practiced the exercise in thirds from Dounis' Daily Dozen, paying extreme attention to the feel of half and whole steps. Doing that that involves close listening, muscle memory, shifting, finger independence, 4th finger exercise, reading awareness for whole steps and half steps, bow control, double stop vibrato, and whatever else i realize isn't working along the way Pretty comprehensive actually, so efficient that way
  15. Fulton's book was written in the 80's, if I am not wrong. Since then, a lot of some good old original Italian varnish recipes have been unveiled, and some guys started producing really nice violin varnish. I made a lot of varnishes, it is expensive time consuming, and it can change in the instrument a decade later or less, representing an unpredictable element in our making. I cooked some "Marciana" varnish (recipe in a 1550 manuscript kept in the Marciana Library, Venice) that I use for the ground in my violas, then I follow with two coats of oil varnish (Padding or Joe Robinson).
  16. Just for fun my novice order of enjoyment: carving scroll shaping gouging body carving blocks edgework f-holes bending garland linings bassbar fitting cutting purlfing channels
  17. Apologies for dredging up an old thread, but was brought here by Google in the process of researching the "Dushkin". Could anyone tell me the back length?
  18. I use that one too. Works fine but you must be careful with the end pins with pins.
  19. Well, that is the problem...the feather edge has no glue surface, so you have to remove more wood to get to a point of meaningful repair....then we lose so much original material. We have to clamp the silk and hot glue to the stick or the shrinking of the glue will deform and crack the edge; not unlike using silk on a varnished surface like a top. With the CA it is safer, and you get a very good fit. On a new bow, I would use silk and CA which will give it a lot of strength.
  20. So you are using the stick as a clamping caul to glue the silk? Do you restore the feather edge first then add the reinforcement?
  21. And there were two Derazeys to start with.......
  22. I am the opposite of Don. I love carving scrolls and it's easy sit down work so I start with the scroll first and once that is done I am motivated to get started on the body so I can get the instrument done.
  23. I do the body first, for excellent reasons: I like building and testing the body... I hate carving scrolls... and I do what I like first and put off what I don't like until later.
  24. https://www.dictum.com/de/sonstige-spezialwerkzeuge-jbt/endknopf-abzieher-706911
  25. Mine is from brass, gives a good weight. I bought it “used”.
  26. No i never cooked Fulton type resins. Only Colophony, Sandarac, Strasburg turpentine, self-collected Spruce resin and amber. I love experimenting, but because of the known exothermic reaction i shy away from cooking pre-oxygenated resins.
  27. Then whatever you cooked was probably not Fulton-type oxidized/polymerized turpentine distillate.
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