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  1. Try: http://www.tonewood.sk Mike
  2. Hi All, Sorry, I've been away for a few days. The first thing I will do is contact The Strad magazine, and tell them that our project is finished - it might just make the Christmas issue. I will post up Don's pictures on my website, and spread the word around in the UK. I know a fair number of influential bods here. who might lend their support. What I would like our members in the USA to do is: find out if Charity Concerts are being held; where?, and who will be playing? Then contact them to see if they will give the instrument an airing. There is no point doing that in the UK - the fiddle's not here! For the moment our fiddle needs a LOT of playing in - every day for as long as possible. So... I think if Maestronet members want to try it out, then they should. Why not post it around to each other - insuring it for a very hefty sum each time? * Don - if the Strad get on to me; can you supply separate piccies of the fiddle, rather than the collage? * Mark (Admin) What can you do to help? Regards, Mike
  3. Hello All! We appear to be just about finished with this first effort, apart from final adjustments, and some playing in. So, now its done, what do we do with it? I know that originally we were thinking of some sort of music based charity, but with the events of recent weeks I cannot help but feel that perhaps we ought to sell the instrument and donate the proceeds to the American Red Cross or another charity helping the situation. What do you all feel about that? If we do sell it, what would be the best way? Would an auction house like to put it up on the block - Christopher? Or should we advertise it in the Strad magazine? Your opinions are invited. Should we make a double-bass next? Mike
  4. Hello to you all! Sorry for my absence, but I have been coaching our indoor archery team for the coming season. I note that our violin is with pro-am, and have seen some of his photos. Might I suggest that we dispose of this violin in aid of the US Red Cross, given the current situation. I know that we originally wanted this to go to a music based organisation, but I am sure that we would all agree that this current situation is pressing. And given that we have a violin and case; might someone be minded enough to donate us a bow? If we have a violin, a case and a bow... Who would like to auction this project off? -or do we leave it to Ebay? Tarisio? ... Chris,... ? Jeffrey,... ?
  5. Bud, I do this all the time and it works beautifully. You can push the varnish around and retain full control of where it is going. As a first step I would suggest using the NRI Rosin Oil and move that around the fiddle with your thumb. The heat in your thumb renders the varnish more mobile. (If you also lick the first two fingers of your other hand and plug them into a light socket, you can get some very nice distressing effects with the working hand!)* * Please do not try this at work. Mike
  6. Hello All, I think that before we do anything with this fiddle we wait and see what it looks and sounds like once pro-am has finished setting it up. He has said he will post pictures of the finished article and we should all hold on until that time. In the meantime it is time to start sharpening gouge and plane for the next Opus! Mike
  7. I'm afraid that due to the brevity of the news report our message did not get across fully. I shall write a letter to the Editor for a future issue. Mike
  8. Shen CSC Products - thanks for your offer of a case for this fiddle. I believe that Steveg has already come up with a case and bow, but we would invite you to reserve a case for a future project if that is OK? pro-am - I make my linings in bulk using a drill press with an edge mill so they are all uniform. I prefer them lower as you can install two sets on the mold and still get the garland off. Mike
  9. Irish C, You were right to remove the violin from the case. The varnish on a new (even 2 year old) violin is dry, but not hard. Even 80 degrees would be enough to disturb the top layers. Keep the instrument out of the case, and take it to your local Luthier. He would possibly be able to re-amalgamate the varnish, and quite possibly even remove any trace of the mishap if the varnish is still soft. Exposure to sunlight (UV) will eventually harden oil varnish completely, but it can take many years, depending on the ingredients used. Mike Mike
  10. Bud, An artful dodge when the shape of a fiddle goes wrong from back to belly (by reversing drawings, etc.) so the corners don't line up, is to call it a Landolfi copy. This immediately renders it beyond criticism, as a lot of Landolfi's look quite crooked. Mike
  11. You don't need to buy a book. Just visit the SCAVM website. Do a search for it on Yahoo, and you will come up with the Southern California Association of Violin Makers. Once you get there you can download Bill Fulton's terpene varnish recipe, and his propolis soap ground recipe. Mike p.s. Insure your house before you start making it!
  12. That's Brazil - where the nuts come from! Mike p.s. I like the label My bit was made in Liverpool, UK
  13. Bud, When I can't be bothered to brew up a batch of varnish I use the NRI mixture. I sometimes thin it with a little pure turpentine, but mostly I make sure that the room and the fiddle is warm, and then stand the opened tin in hot water. This makes the varnish liquid, and easy to apply by brush. As to nibs, specks and dead fly legs, this is easier to deal with when the varnish is tack-dry - after 4 to six hours hours in the light box. Then you can pick out the nasties with some fine tweezers, and the surface does re-amalgamate itself. Your point on using the bathroom is a good one. My variation involves filling up the bath with water - and pulling the plug before varnishing. Any specks etc. land on the water and are sucked down the plughole, leaving a cleaner environment. It is also important to use a very good brush when using oil varnish. I use the Windsor and Newton Filberts in camel hair, 1 inch wide, with the extreme tips trimmed and the brush stroked up and down a piece of planed wood for half an hour to round off the ends. You tend to get better brush out with this. Mike
  14. One way of stopping this natural resonance is not to stop the third finger fully on the D string. Just try pushing the string three-quarters of the way down. You will still get the note, but not the resonance. Traditionally, the enhanced resonance of the octave stopped G has been a major feature of the Bruch G minor solo violin opening phrase. To translate this into traditional fiddling; try playing the Atholl Highlanders march while keeping the fourth finger down on the E in the opening phrse - just do it ! - it gets people's attention Mike
  15. Now here's a plot worth grabbing! WHY is there nothing concrete written about the Amati family? Their instruments figure largely in The Strad poster series. Is it the case that they do not conform to the now accepted "norm" of style and model? If so, then I think that this is a retrograde step; we learn from what has gone before. I made two A & H model violins just to appreciate the difference between them and Strad. Michael D - I note with appreciation your photography on master violins, notably JBG, in Rosengard's work. in recent months. Have you never/ever been approached to photograph any of the Amati works and put them out in a wholistic body? Mike
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