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  1. Finnliengaard, send me your address and contact info, like email, in a private message. Then we can arrange shipping. Thanks, Peter
  2. Here is a nice German thickness caliper, it's a small project. At some point it took a fall and busted the dial and (I think) bent the rod slightly. So, it's basically the armature that needs a new dial and rod. FREE plus shipping for anyone interested. I got it free from another luthier, and never got around to it.
  3. Interesting idea Oded, I have used basswood once for cello linings. One thing I noticed is that it tends to "crumple" in the curves when bent, I thought more so, and more abruptly, than willow linings. Were you thinking of basswood ribs for this hypothetical cello? If so, it might be worth seeing how rib stock reacts to the bending process.
  4. Something like this? It's the D'Angelico plane from Luthier's Mercantile International. I've got the large one, and it is very useful, one of my most used planes for both rough arching and hollowing: www.lmii.com/CartTwo/thirdproducts.asp?CategoryName=Planes&NameProdHeader=D%27Angelico+Plane
  5. Bingen

    oil colors

    I attended a lecture by George OHanlon of the Natural Pigments company. He mentioned that carbon based lamp black is an antioxidant, and can slow the drying (oxidation) of oil, relative to bone black, which is calcium based and apparently acts as a drier. The small amounts of lamp black being discussed here as additives to varnish probably makes this antioxidant effect a non-issue to us at the workbench. I thought it was interesting anyway. In terms of particle size, and in the context of painting, he also discussed how small pigment particle size can reduce transparency by providing more stuff for the light to have to work around as it passes through the film, reflects off the ground, and returns through the film and to our eyes. I don't know what to think about all this, especially in terms of RI and pigment load in a varnish compared to a painting, but is has given me a lot to think about.
  6. Handsome varnish Joe! Really nice view from your workbench. Is the trash-can to the right a light-box?
  7. Bingen

    VSA 2012

    The Cleveland Art Museum is a fine place to visit. I'll be spending a day there if I can.
  8. Interesting thread - I've been enjoying the existential questions raised here. I've been following my calling to make new instruments since graduating from violin making school. It's not easy. It takes a lot of faith and patience. It may still result in "failure", or it may not, like any small business. Currently, I take in repair/restoration work from a shop to help cover expenses, and make new instruments when I'm not doing that. Eventually I'll be a full-time maker. I've put in time (including those years that are a net loss), to make the best instruments that I can, get better as a maker, and develop a client base for my new instruments that will help me segue into full-time making. Yes, it's a calling. No, I wouldn't recommend it. Yes, follow your calling, whatever it is. Choose for your tombstone: He/She: 1) followed their heart. 2) made a good living. 3) tried to do both, and either succeeded or failed. On we go!
  9. Thank you Melvin, here are some more pictures, including some close-ups of varnish texture, which is something I really like. Craig, thank you as well, a sense of the cohesive whole is something that I have been working towards for a while, inspired by my various teachers. Thank you for seeing that! I really like thinking about the dynamic relationship of the soundholes to the top arching and vice versa, but also how edge work, arching, and pattern go together. -Peter More pics:
  10. Just completed today - a del Gesu "Ole Bull" model violin. Tonally, it is dark and sparkly. I really enjoyed working with del Gesu's original design elements in the scroll and soundholes.
  11. Bingen


    Congratulations! It looks like a good first fiddle!
  12. "one time opportunity for me". Indeed, the joy is in the quest, not the grail. It sounds like a fun personal project, Fernred - it would make a great blog or book that many violin makers would probably like to read. Marchese's "The Violin Maker" was interesting, but focused on only one maker, Zygmontovicz.
  13. We're all free to make and market our work how we want, I think. If players respond accordingly, then who's to judge? I know David personally, and can say that his work and his approach is uniquely his own. He is passionate and outspoken about his work, his designs, and his ideas and theories. Much like many Maestroneters here! In 2006 I travelled to northern Italy to help him select and process Spruce logs. I ended up with an entire log of my own at the end of the process. It was a great learning experience, and deepened my appreciation of the trees, the region, and the violin maker's supply chain. I don't think that the tonewood he sells is inexpensive, but he puts a lot into getting it.
  14. It's a Poplar family wood. Very light and strong. Engleman top, and Euro maple neck. Great to hear from you Guy, hope to run into you again one of these days.
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