arglebargle

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Everything posted by arglebargle

  1. Three days. How long does it take you to carve a scroll by hand? Assuming a regular working day, do you save any time?
  2. Use clamps! For the life of me I can't understand the point of a rubbed joint. You're making a violin, not a center joint. Get the job done well and move on. There are much more important things to do.
  3. How about this: The current (last 30 years) crop of Cremonese makers encompass many nationalities. Many started their career in Cremona, and never left. Every instrument they made was made in Cremona. Yet they are not Italian, at all. I'm thinking of several examples, an Austrian, a Columbian, Danish, Swedish and on and on. So, would these instruments, made in Cremona, with Cremonese training, but by a non-Italian, be considered Italian instruments?
  4. Traditional tonewoods Reinhard is a good guy, very easy to work with. Some of his wood is over 10 years old.
  5. None of this sounds good.
  6. This, times 1000. I'm always amazed that some of the same people that will disabuse "amateur luthiers" from working on instruments have no problem slinging accounting advice or encourage people to DIY their tax work. Use a professional, that's what they are for.
  7. These poor eagles all look like they're having the life squeezed out of them.
  8. Thanks for the replies. No physical address, which is my fault. I am conscience of the strange situations these days. Perhaps she has had some family crisis and this cello is the last thing on her mind. But still, one phone call in 4 months is not a lot to ask for. I suppose I am going to get it out of the shop, put it in storage and forget about it. The idea of "taking ownership" of the instrument was kind of a goad to flush her out of hiding. I really don't want to wade into the legal aspects of this at this point in time, so off to the warehouse with it. Of course, if I really wanted
  9. I've had a cello ($1500 price range) in the shop that had some open seams and needed a re-hair. The work was done in Sept. The client has dropped off the face of the earth. I have called and left dozens of messages. At what point would you write her off and take ownership of the instrument? Would you ever? I don't have the space to keep it indefinitely and I am tired of having it here. Any policy advice would be appreciated. Thanks!
  10. How much do you charge to remove and replace a bass bar? It may not be "risky" but it might also be a waste of several hundred dollars (at least) and who knows if the procedure helped or hurt the cello, because nobody knows what it sounds like!
  11. I am amazed at that there are people on this forum that can look at that bass bar (a perfectly reasonable bass bar, maybe not yours or mine) and determine that it is a hinderance to the sound and needs to be replaced. Without any further information. Like the model, or the body length, or the width of the bouts, or the arching style, or the arching heights, or the rib height, or the set-up, or the type of end-pin and on and on. So I assume if I were to post a picture of a bass bar, with only the measurements of the bar and no other points of reference, these same people would be able to tell m
  12. If you've never played the cello how could you and your luthier justify a new bass bar? (And yes, I see that you are not doing the procedure.)
  13. The plywood is 3/4 inches, 18mm. Here are some pictures of the violin jig, since there seems to be some interest. Again, all credit goes to Sharon Que for the design. I tried to find the original article, but no luck. I believe she made it while working for Joseph Curtin. Her plastic frame was much thicker, but this was all I could find at the time. Works for a violin/viola, but probably too thin for a cello.
  14. It is stable enough for me. My violin and viola jigs are made from really thick plastic and are more stable. Aluminum would be great. This is a jig I made fairly quickly out of necessity. I always intended on re-doing it, but it works well enough that I've never gotten around to it.
  15. This is a bass bar jig (early) I made a while ago. The design if from Sharon Que, published in The Strad. I also have one for violin and viola.(they look a bit more sophisticated) The two arms move to adjust the bar while the platform holds the plate flat. The bar rests agains the arms at 90 degrees. Make on and never look back.
  16. On a few occasions I had some luck reading an inscription using a blacklight. Worth a shot.
  17. All that to fit a sound post? Obviously not, but the hand cranked disk is another level of tool. I don't know if you have ever used an Alberti sander (or Woodlands awesome knockoff) but they are sublime.
  18. No strop after the sharpening, just whet stones. But when it feels like it lost a bit of it's edge, then strop (tormek leather strop) till it needs another sharpening.
  19. Those look pretty nice. Of course, we all know what I really need is a monsterball vise. Unfortunately, I just don't have the room. Someday.
  20. Just starting a new cello, so I thought I'd share this. Not a self-made tool, but I find this method of holding and positioning the cello mold while fitting ribs very helpful. The mold rotates into any position. Veritas carving vise attached to a two piece mold.
  21. "Come on, we're making violins, not watches." Said in response to me fussing over some minor detail.
  22. Yes! The underside (inside) should be dead flat and the planning surface should be totally square to it all the way along the surface. In addition, the top (outside) should have a flat area also square to the planning surface. I take my plates down to about 5mm of my desired height. I also cut out the excess wood from the upper and lower bouts at the corners of the plate and the c bout before I begin joining them. I clamp the joint using my bench vise and dogs at the c bout cut away, then bar clamps at either end. The plates are upside down on the bench (the top facing down). Great info i