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Quentin Clark

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  1. With strings going sharp it could be the neck is pulling to one side.
  2. MANIFO, based on my efforts to make use of Vigdorchik's system what I think can be smelled is extraordinary balance across all four strings with immediate and sensitive response throughout the entire register. I can't help but feel a system that consistently produces these qualities doesn't deserve to be mocked by those unwilling or unable to use it. The main problem and perhaps the root to most of the flak surrounding the method is, even with a gifted ear, an open mind, and complete confidence in my abilities to work with wood, I found it extremely difficult to use.
  3. Quote: I believe Vigdorchik to not only be erroneous in his conception of how a plate works To my knowledge, Vigdorchik never offered a conception of how a plate works. I'm left to wonder at the motivation and cause to make such a bogus statement. Was it poorly worded? Quote: but also in his ability to detect the differences in tone in his "diagonals". With your following quotes in mind, I would say your view offers more reason to doubt your abilities to detect differences in tone rather than Vigdorchik's. Quote: I was in touch with another (world class) maker who did use Vigdorchiks techniques (apparently successfully) in order to augment his own making practices Quote: I have spoken with a number of makers who subscribe to his theories, but I don't Michael Darnton: Quote: From what I can tell, just about no one's been able to replicate or make useful sense of Vigdorchik's method And from what I can see, the world is a very dark place. Oh wait... my eyes were closed Never mind Quote: In the scientific community, that's usually enough to make something "simply wrong"--at least for the moment. Do you have some contrary evidence you'd like to throw into the discussion that might to reverse the situation. Better yet, what can you tell us about your own experiences using it that leads you to defend it? What from my own experience would be more convincing than ctviolin and I knowing half a dozen makers between us that apply some form of Vigdorchick's method? I'm defending one mans half century of violin study from being lumped into the same category as talk of Miss Cleo healin' violins ova'da phone doan'ja no? Other than that I see no cause to dive deeper than I already have.
  4. Quote: Perhaps I was only reinforcing my preconceived ideas about what I would find - I don't know That's a long way from saying so 'n so is simply wrong
  5. Quote: I "wasted" a great deal of energy not long ago attempting to unravel Vigdorchik, and much to my dismay I discovered that even though I think he's totally off base with his ideas - attempting to understand him (and realizing that he was simply wrong) led me to a greater understanding of why my own techniques work. So it really wasn't a waste of time. I'd be interested to hear details of how you or anyone else came to the realization Vigdorchik is "simply wrong".
  6. As much as I like to read what Michael has to say here on any given subject, for what seems like a ages now, I've often wondered if his time might not be better spent. Regardless, I'll look forward to reading what ever he has to say whether it be here or in print. I should also add, the same goes for Jeffery Holmes
  7. A couple of decades ago I read an article suggesting the scraper's hook wasn't necessary. I played around a bit and found while the no-hook method didn't last quite as long I felt it gave better control, the finished surface appeared to be a little finer, and the small amount of time lost resharpening was gained back by the sharpening process being much faster. I've continued going hookless ever since for both cabinets and violins with a square edge (twice the cutting edge for one sharpening ) on all my freehand scrapers. A note of caution; the reason this method probably works well for me is because by the time I am ready to scrape there is not much scraping to do.
  8. As Manifo has implied, there is a lot to learn about hand planes. There is no chance of straight away getting good use out of a high quality low angle plane on figured wood without having a solid background in hand planing already. What ever type of plane you try next I strongly recommend you learn about tuning it first before going too far. Fine Wood Working Techniques (I believe volume one) is an excellent source. No, I don't mean tap tuning, ha ha. Basic principles of sharpening are also covered, without which a low angle plane will seem the wrong tool, for example. Or what seems a perfectly keen edge won't hold up long at all. Perhaps a low angle on curly ribs is not the best way to go, I just have to say it can/does work with out any tearing and that I prefer a planed surface to a scraped one, doing so when ever I am able.
  9. Same as the gap you would want on a 30" or 60" board. as close to zero as you can get
  10. The trick/goal is to add translucent color. You want everything the wood has to offer to shine through as much as possible without being hindered. It's hard to understand how much you're missing out on by using a stain unless you absolutely know wood can be gorgeous with out any finish at all. Aside from the possible drawbacks Chris pointed out with modern poly-whose-its, most violin makers along with their customers want to stick with traditional materials that have been around for at least a few 100 years. Plus home brew is always gonna sound more sexy
  11. First burlguy, get what I said right: ‘Potential wood beauty'. What I will tell you is the same thing a friend told me. Linseed oil is known to have a deleterious (his word not mine) affect on wood. I never asked him for his source or bothered looking for written proof since I had ample reason to trust him on the subject. What I have done over the years since is to keep an eye on various clear finishes known to contain linseed oil and see what takes place. Not so great looking to begin with IMHO (in my harsh opinion), I've observed within a few years the type of finish you recommend destroys refractive properties on all of the several varieties wood I've seen it directly applied to. @@@@@@@@@@@@@@@@@@@@@@ Casper, How would you feel about nay sayers to a secret shared if the advice was along the lines of say... a good way to get around NYC is to cross against the light? A bit extreme but that's pretty much akin to my gut reaction after seeing burlguys secret varnish recipe.
  12. I would just as soon put used motor oil on a violin rather than let any mixture of linseed oil near bare wood. That goes for furniture, let alone a stringed instrument. Whether raw or cooked it may offer a form of solid lasting protection but a certain amount of the woods potential beauty will be forever lost over the years. Adding such with the idea it may one day lead to the secret of enhanced sound is an even worse idea. Please, just don't. Okay?
  13. A careful read of the article should reveal maples are named as a host to the pathogen. Not mentioned in the article; so is almost every woody plant it comes into contact with. To date the only danger is to oaks and rhododendrons. Yes, some redwood seedlings have been affected but there are no signs it will ever be a danger to redwoods past the seedling stage. It should also be noted some oaks are showing resistance.
  14. Make sure the string isn't buried into the bridge or nut.
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