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arglebargle

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  1. I have a few of jars of unknown origin that I've used for a loooong time. Ocher, yellow, burnt sienna, "brown", I really don't know exactly what they are, but when mixed right they give me the look of a filthy, old violin interior. A slightly different mix gives the bridge an aged look as well. Hans Nebel threw in a little of the contents of a vacuum cleaner bag, if I recall correctly.
  2. This is an expensive sport. Both from the consumers end and the makers end. You will spend money, and a lot of it if you pursue this to any substantial degree. Spend wisely. With all due respect to Andreas P, one of the items I would encourage you to buy is a bending iron. At around $150-200, they are not, in the long run, a bad investment or terribly expensive. I used the standard "starter" iron for many, many instruments. It was perfectly fine. While mould bending ribs is a perfectly reasonable way to get the job done, it is not the standard, if that matters. And besides, using a bending iron is A LOT OF FUN! Go for it.
  3. That's the sort of thing I was thinking of. The area you need to cover is really small, basically 8 points, that aesthetically it would be almost invisible.
  4. Anyway, anyone have any thoughts on the original question?
  5. Well sure. I don't agree about the wood floor though. No matter how careful you are, at some point the edge will be damaged. Maybe only slightly, but damaged all the same.
  6. Put it in the case? Get a stand? Obviously not during a performance, but simply walking it back stage to the case. As I said, I almost always rest it on its side. A bad habit, but habits of convenience often are.
  7. Cello makers! Does anybody do anything to protect the edges of your newly made instruments? As a cellist, I can testify to the bad habit of setting the instrument on its side on the floor of wherever you're playing. Not a big deal on carpets, not so great on wood or hard floors. I have started putting a couple of layers of spirit varnish over the last coat on the edges just to offer a little more protection, but I wonder if there is something to do to the raw wood, or a different method to protect the edges. I am specifically talking about the edges that rest on the floor, not necessarily all of the edges around the instrument. Any suggestions, apart from discouraging players from setting the instruments on their sides?
  8. Second video, Maddie Denton, Beaumont Rag for the win. min16:10
  9. Thanks Captain Obvious! An E at 3mm and a G at 4.5 would be a failed bridge in my book.
  10. Yup. FWIW, sounds like the curve on your bridge is flat. The only thing to do is make a new bridge. Wood is super easy to remove, a little more difficult to put back on.
  11. You are a horrible racist and should be ashamed of yourself. Prove you aren't, racist.
  12. I just got the fingerboard alignment clamp. Seems ok, a little flimsy? Clearly made with a 3D printer (not necessarily a bad thing). I'm sure it will work for what it's made for. If the closing clamps are of a similar quality, I'd stick with the herdims. Had to lubricate the screw to get it to work. Worth $35? Maybe. Could you make something similar? Absolutely. Might come down to what your time is worth.
  13. I went ahead and bought the fingerboard/neck alignment clamp, cause why not? I will report when it arrives. Also like the looks of the F-crack clamp, maybe?
  14. Yeah, that's a weird one. Sat on my shelf for quite some time, but recently found a use for it, establishing the long arch on the top and back of all things. Other planes certainly work, but I found the size to be comfortable. Other than that, there it sits.
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