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arglebargle

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Everything posted by arglebargle

  1. This strikes me as a good example of the hazards of focusing on one or two metrics (weight and frequency) to the detriment of another (thickness). From my experience your top is much too thin. Maybe it will work, maybe not. Only one way to find out.
  2. Sounds like a much better ground color than golden yellow.
  3. Didn't see it mentioned here, but luthiers bench makes a great bending iron. Worth the money, since bending wood is kinda, you know, essential to what we do.
  4. Here's a fun one. Never seen this before. Rental violin, the player says he didn't do anything to it, just opened it up and there it was. Wood is amazing!
  5. Years ago I helped a kid make an electric cello for his senior project. Turned out great. There are only a few numbers you must hit to make it work. It's all about string length, neck length, projection, that sort of thing. What we discovered was that once you hit the important parameters, have at it! Anything goes. All this to say, you probably don't need plans. You are certainly competent enough to do it.
  6. Well I stand corrected. And I accused you of nothing but (possibly) hyperbole. So relax. I've been doing ALL this crap for over 25 years and I am nowhere near "thousands" of bass bars. I will remain skeptical, but I will also extend a congratulatory hand to you and your thousands of bass bars. Good for you!
  7. Sorry, but talk is cheap and words matter. According to your own bio you started working in a repair shop (Potters) in 2012. Before that some making, some summer classes, Oberlin, etc. So let's say "thousands" of bass bars means 2000. That would mean that starting in 2012 you would have had to install over 1 bass bar a day, every day for the next ten years. Every day. I have no doubt you are a skilled craftsman. I have no doubt you have installed many, many, many bass bars. I myself am a huge fan of hyperbole, (probably the biggest fan that ever existed in the whole universe) but talk is cheap and words matter. One should be a bit circumspect when throwing out fantastical numbers. This is a business built on reputation and results, not bluster. But who knows? Maybe you have.
  8. My record is 10 minutes to fit. New instrument. It was a good day. Doesn't include prepping the bar, setting up the layout, and shaping. My first one, over 25 years ago, took a day and a half to fit.
  9. I have a cello that had a bad crack on the d-hole. I've bushed it, but as I'm starting to think about pegs I'm wondering if a mechanical peg for that hole might be a better option. It would be a mismatch for the other three, but so what. The Wittner in particular. It strikes me as another layer of security/stability as the peg won't move with the seasonal changes and there isn't any actual rubbing on the peg hole as you tune. Love to hear any thoughts.
  10. Thank you. How can you be sure that the two pieces you have glued together have the save qualities that the original wood has? If anything it seems as though you are adding additional variables that could go sideways. One piece patch, one variable. Two piece patch, many variables including a glue joint that might fail. Unless it is from the same piece that the back came from, how could you know? The picture of your (?) patch shows the center seam slightly askew from the violins center seam. Is that on purpose? It would seem that if the joints are not lined up it would defeat the purpose of matching the wood. I'm not picking a fight, just asking.
  11. Why? I'm genuinely curious as to your reason (beyond "because it was a two piece back") for doing this. I assume that on a one piece back you would use a one piece patch? Is this just a case of "that's how I've always done it"?
  12. I'm curious, is there a reason you used a two piece patch?
  13. Correct me if I'm wrong (like I have to invite corrections here) but I thought it was understood that the danger to pernambuco did not come from bow makers, but from the other uses for the wood. Fence posts come to mind, as they have a tendency not to rot, and construction and the like. The IPCI is mostly tasked with being a sort of representative of the bow making community to cover for any flack they might get from using the wood.
  14. I mean, off the top of my head, the only animal product I use is the glue, and the glue used to make the purfling I use. So big f***ing deal? He just used different glue? I haven't used gut, or gut core, strings in a long time, if ever. As far as the horse hair goes, synthetic hair has been around for ages, and is roundly panned as an inferior product. So...congrats?
  15. "This will be music to the ears of so many violinists who have longed for a high-quality instrument that is free from animal products," said the charity's Ericka Durgahee. So many...I find that hard to believe. A solution in search of a problem.
  16. Yeah."My luthier" should be able to meet your needs and have the connections to get them. Ask your luthier?
  17. Not sure if you are being deliberately disagreeable, but on the same note, I would be interested to hear the takeaways from the many many many hours of you "teaching" violin making online or in person. Are you the only qualified pedagogue allowed to post opinions about techniques and theories online? Is this group of violin makers beneath you? If you are not being deliberately disagreeable, I would also be interested.
  18. No, they work on spruce and maple. I just don't like the feel and the result. Much better outcome with my usual scrapers. An un-bendable scraper has its place, but not so much on an arched top and back. In my opinion.
  19. I have found these to be terrible on spruce and maple, but absolute perfection on ebony.
  20. This is one of the reasons peg heads are "flat". Much easier to grip and turn the peg with the thumb and forefinger while the other three help brace the scroll area. This assumes the instrument has a well fit and functioning set of pegs.
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