pbelin

This sharp edge is very practical to have a clean finish att he collar.

That's a shame, I'm sure I'd have loved it!

Ok, leave Stradivari and Bergonzi aside.. (I saw a violin certified as Bergonzi a couple of months ago, I could have sworn the scroll was a 1720's Strad...). That wasn't the point anyway. My point is that team work can be better than a one man shop. If I start experimenting with new varnish, or if I try to understand how I can use modal analysis, nothing gets built in my shop. So I progress less than if someone was helping me out.

I don't get all he fuss about instruments made by teams. We can go pretty far back to find that it was the case in most great workshops. Are some Stradivaris worth less because one can clearly identify Bergonzi's hand? What about Vuillaume? Why should it be any different when it's Greiner, Hargrave, von Baehr...? Being alone means one has to produce violins to live, and leaves less time for experiments and progress, and very little time for error...

Try sonowood. Only we can establish the decent track record.

C'mon, we all know this is the only proper way to fit a bridge!

Don't worry, no one can.. Thank you for the great picture Manfio! More interesting than the wing imo is the way the flames are better sealed along the purfling... Glue ghost from purfling? Or can it just be from the shark skin finish?

I Mix larger batches in jam jars, I don't measure much. I stir if I want more red, as pigments tend to settle after a while.

As far as I know, all medio fino have pressed plates. I have a cello with pressed top and back and real purfling

It is! It's actually varnished, I'd be happy to send it to whoever wants to set it up. Just let me know!

I'm starting to feel the effects of age, and I can't fit a soundpost with my glasses on. in a way it's quite practical to be so short sighted.. But I realise every time I do an arching how my glasses distort my vision. I did an experiment once, and made a plate without them, it turned so much fuller that what I normally do, and I had to start all over again. If I get surgery some day, it will probably take me 3 or 4 instruments before the arches go back to normal...

Cornelissen's tartrazine yellow is, as w&n's Indian yellow was, tartrazine Lake. No need to look further if you want to keep using the same stuff.

Yes cooked rosin and some cochineal lake

Not what I meant to do... I somehow edited the last post. Anyway, the back and scroll are done, I hope to be able to send the violin over in a week or so. (after I finished the front and ribs of course!)

Nope, I cooked this one long ago, but I guess it's Kremer's clear stuff.