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colledge

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Everything posted by colledge

  1. One of the first things I ever did on a violin was the fingerboard. It was a Chinese rental straight from the factory. The sides were straight, and it needed to be shaped to the template and given the proper scoop. These things had to be done and checked separately because the sides were straight. But when I started making instruments, I learned that if you give the sides of the board the appropriate scoop first, you are automatically adding the overall scoop to the board when you shape it to the template. Of course, with an existing instrument one has to decide if doing this will create a lot of neck reshaping
  2. Ground color on the orange side of acceptable range, but definitely ok. Color coat looks great. Antiquing very natural and organic looking. Nice texture. Looks great. It will certainly satisfy the prejudices of the musician who wants an antique.
  3. My statement doesn't necessarily apply to wholesale. I do a little bit of everything, wholesale, consign, direct. Factoring in how fast you need to sell applies mostly to a consignment because you are putting that in someone else's hands. Like Joe's example you want your quality to be compared to instruments far more expensive. Of course getting the salesman to show your instrument with the more expensive ones can be difficult which is why you have to get out there yourself. By the way, your consignment arrangement works well because you work there and can monitor it, even sell your own instrument. I often only consign with smaller boutique size shops where everything is consigned because many shops won't show consignments to people with trade in credit becasue they'll end up doing the transaction with too little cash flow giving you 70-75% and eating the trade in out of their smaller cut. Often it is better to wholesale it and move on that way the dealer is invested in it, they'll show it, and they can't take the house of cards they built with trade-in credits out on you, or they can becasue they gave you less, but its a win-win because you got paid and can move on. But whether consigned or wholesaled, you're gonna make another, so you want that instrument to move along so you can give the dealer another. I think that how fast an instrument sells is mostly affected by the deciding factor of how good is it compared to others in the price range, and how many players are in that price range. For every 10K you add to the price of a violin, your number of prospective buyers goes down by a certain number. If you can compete in a higher price range, you'll see that money when you sell, but you'll spend more time making one instrument and even more finding the buyer, or dealer finding the buyer.
  4. I think the question is where to set the your market price, not how much to charge for certain features. Also, that is ridiculous. A maker who cannot find a center line probably can't join a plate either, so they should be the same price. And in the case of that maker, very inexpensive.
  5. Noah One factor I add to all of that is. How fast do I need to get paid? I consider myself a working class maker who needs to sell my instruments within a reasonable time, and I consider this in my prices in aiming it at the largest market. The Landon example shows how he is set up to find that one customer who will pay that, and I have to make ten and find the ten who will pay my price. It probably takes the same amount of time, except I have to make ten or is it I GET to make ten ? The needs of the players in these markets are obviously different. Assuming someone like Landon's instruments are 7 times better than mine, part of me would rather be putting ten instruments into the market than making them acceptable to the the far smaller number of people who will pay that much and then go find them and convince them not buy an antique
  6. I understand. Thanks for the pic.
  7. Roger I have really enjoyed reading this thread. Thank you for your writings and for sharing info on this beautiful bass. There have been discussions before about the Amati purfling and its deviation from the edge into the corner. I have looked but never found anything where you might have shared your theory on this. I don't want to turn this into a free for all Q&A but would love to hear your take on it since your are talking about the order of the way things were done. I was taught and agreed with the possibility that the logical, natural steps causing this would be for the initial outline to have been drawn with additional overhang and purfling set based on the corner distance, and then final outline after purfling, which brings the purfling closer to the edge. In photos it always just looked to me to be to continual to have been deviated by hand. Do you think it was just deviated when marked and cut? If you've written on this subject and I've overlooked it I apologize
  8. I use Hammerl, and I pretty much get all of my materials from International Violin Company. I can't make a living at this paying a lot of money for varnish, especially on cellos. Hammerl is cheaper than all of it. It is fast drying. If you are experienced, you can brush it on right out of the can, if not you can thin it, or buy some brushing time with a little bit of oil or thinner. It'll be dry from a dry box the next day. I do not recommend using the colored ones. Get some clear varnish and learn how to manipulate colors. I support the notion that it is more how you use it than what you use, within reason
  9. I like to think that I am contributing to and drawing from a massive archive of answers in this complex trade. I must say I haven't really noticed the negativity people are referring to, but maybe they are in posts that don't interest me. Doesn't the forum have a way to block the view of a certain poster? If people just block those who lack social etiquette instead of engaging them, things don't get elevated. These features are in other social medias and I use them all the time before making an ass of myself.
  10. I was taught to spot glue the board on 2 mm back from the final position when shaping the neck. That way, when you glue it back on in the final position, you are either right on or the ebony is overhanging
  11. I remember M Darnton explained to me a system of questions that Robert Bein would use and teach his staff. Starting with What Century was it made? and ending with Who made it? Something like that. It may have been discussed here before. Many questions in between, but not a process that requires anything academic. If that is all Bein used himself, then the rest is just talent, confidence, honesty, a photographic memory, and a large photo archive. The last thing being something that has been left out of the discussion. Even the best experts have a massive photo archive to refer to, not just with standard photos, but photos that answer these questions. These things build with the gaining of experience, not the completion of a course.
  12. Inspired by MANFIO, I paid a photographer friend to shoot my latest cello. You can see it at http://smu.gs/LRcA0Z It is his first musical instrument. I think he's into it. MANFIO I sent him to your site for ideas. Hope you don't mind.
  13. I think it was. What weight / density algorithms were you using?
  14. I learned that the numbers cited are on the conservative side, leaving room to check this, but this is another good reason for a profile template that brings you close, but heavy. David, in an effort to not make assumptions, are you saying that you just weigh and flex your way to a final bass bar shape? Is there any restoration shop in the world that does not give their people a number to go to?
  15. I use this method as well, and find that dividing up the bar into visual areas also helps with fitting. There are respective measurements for viola and cello as well. The think the 10.2 - 7.6 area of the bar is important because, without measuring, one might leave this area thicker. You can also measure things out .75 mm higher and make a template to get you in the ballpark very quickly
  16. I bought a copy just a few months ago that I didn't expect to have a poster, and it had a nice poster of a composite Andrea Amati cello, no measurements. I didn't care about the lack of measurements, what made me mad was that you didn't tell me that I was getting a free poster. That is unprofessional. I expect to get that notice in the previous issue so that I can spend 29 full days stopping in the book store and turning around and walking right out. Get a grip Strad. Also, when you have an article about Andrea Amati, but use a picture of a Bros. Amati viola instead, we can tell the difference.
  17. I could be reading this wrong, but nothing you are saying or sourcing M Darnton on suggests that he said it "helps" the tanning which seems like what your test is out to find out. Just that it brings it out. Meaning, when you are done tanning, apply it, and it will help bring it out. Which any oil, sealer, varnish, Polyurethane, etc...will do, frankly
  18. I don't see how putting any kind of oil on the wood while you are trying to tan it would do anything except impede tanning. Of course putting it on when you are done will certainly enhance whatever level of tanning you are stopping at.
  19. Yes, aggressive rib scraping bringing out more flame in the texture. I didn't pay much attention to it because I was too busy noting how the violin looked like someone actually stripped it, as opposed to natural wear. BTW the light in the picture is sunlight coming through a large window. This may make things look brighter but it isn't why the ground looks more pale. Still a nice fiddle, but also a good example of a pale one.
  20. Having taken the picture,I can verify that it looked exactly like that. Otherwise I wouldn't have shared it to support my point.
  21. Maybe if Oliver Stone had been available
  22. Yes and remember in The Red Violin he had all of those white instruments hanging from the ceiling? There you go. case closed
  23. "So when Stradivarius was turning out a violin every two weeks at his peak, do you suppose he was doing an assembly line operation where he had half dozen violins tanning in the sun and would only finish them after having been properly cured? He would have had the same problems with freshly carved surfaces." Assembly line might be a stretch, but a shop with apprentices could pull it off. Its not about how fast you work, its about having the patience to let your finished work sit for a while. An instrument ready for varnish will not take anymore tool marks, and as we know even the master makers left a few tool marks that they maybe didn't mean to leave and didn't show until the wear and dirt showed up. Isn't there a preserved document from Stradivari to a customer asking them to be patient because the instrument needs to tan longer? or is that varnish drying? Heres a Giuseppe filius Andrea that one could argue didn't spend enough time in the sun. Look I'm no expert okay? I'm just sharing the ideas that I draw from what I see. I've seen a few instruments though
  24. "So I don't see huge benefit at this point to go to all the trouble to tan the wood now. " Maybe not now, for this, but overall tanning speeds up the oxidation of the wood, and produces an effect that includes reflective properties that cannot be matched by a stain. Before anyone gets technical on me, I say it that way only to suggest that you can make your wood appear tanned just by letting it sit around in the dark, it just takes a few years longer. The benefits are more for the maple, and I'm saying all of this because you are holding up maple test strips as well. If you've ever seen a piece of maple that has been tanning for a few years, you might believe as I do, that the most beautiful, golden Cremonese ground is nothing more than a clear varnish on a violin that has been tanning for at least a year
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