Melvin Goldsmith

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  1. I use a CBN grinder for primary bevels and DMT diamond stones for sharpening followed by stropping the edge on the leather wheel of a Tormek as described by John Cockburn. Sharpening must be done as fast as possible unless it is a hobby.
  2. Whatever gets the job done faster...we can't charge our clients for us being anally retentive re sharpening. Tormek is too slow for cutting back. I use a CBN grinder for that for primary bevel. Secondary bevel Tormek finish on diamond plates or oil stones Washita and Arkansas and final buff on Tormek
  3. You don't need graphite or chalk to fit a bar. It's not going to tell you anything you can't already see. You can see all aspects of the joint and the gluing area is big.
  4. Yes and no. I make varnishes for the different layers in different ways. Generally I will pre treat my oil and resins and combine with minimal heat or no heat. Heating oil reduces it's brushing time and add's no color so I prefer to keep the oil ratio low and the brushability high.
  5. Basically by heating the resin and oil together you made some kind of plastic that is insoluble in turpentine. It's a complete myth that resin and oil have to be heated together for hours to form some kind of magical bond. For centuries artists have been combining these mediums cold to make glazes with a view to proven longevity.
  6. How long does it take to make a really good violin.....about 40 years experience I would say...similar for surgeon. You need to wind your neck in
  7. I bought in a couple of corene ones to try. ..First impression was a chemical smell, The playing surface seems almost ready to go but they seemed so acoustically dead compared to Ebony that I was scared to progress, . It's a near perfect board saving 2 hours, However colleagues tell a lot about these coming unglued plus it seems acoustically dead....I am looking for every small percentage of gain....I think these could be a slight gain for me in work time but not for my customer so they go in the bin
  8. too...I don't stamp because I think it just looks utterly vulgar. I put my ID and the date under the arch out of sight
  9. I know there is a preference for sub .38. I like plus 42 at least
  10. One piece backs are generally The left over cuts from cello backs
  11. Not smooth but certainly shiny. I think age quite quickly took the shine off the pristine examples we see ( Messie is heavily French polished)
  12. What makes you think old Cremonese instruments were not shiny when new....I bet they were! Most 'antiqued' making I see these days seems to be influenced by what other antiquing makers are doing rather than observations of old instruments held in the hand.
  13. You don't need pigments...if you use them for my varnish a tiny addition will make a big difference...pic is all cooked in colour
  14. I tend to agree with Martin and Don but I generally go higher than standard with string heights at the nut and less scoop in the board. You want to make the nut accurate but no sharp edges for the left hand to notice