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Everything posted by arglebargle

  1. Leaving tool marks is one thing. Leaving tear-out is another and I would not leave it for the reasons stated above. What I see in your picture is tear-out and I would get rid of it.
  2. Yes. Glass scrapers are one of the things I wish I knew when I started.
  3. That was my experience. Tried it on a violin, it came off, re-glued it, it came off a second time and went straight in the trash. I contacted them about this and they suggested scoring the underside, but still not a risk worth taking.
  4. More to the point, if you don't have the ability to make an accurate, workable mold, you might as well hang up your violin making aspirations now.
  5. Second for the carbon paper. Cheap and re-useable. I use a knife to get as close as possible, then a scraper (broken glass) to get all the way there.
  6. Raw, cut with turpentine and or spirit, colors added as needed. I really liked the look and was getting pretty comfortable with it. On to something else!
  7. I'm not sure what the production process is. Any information they had is no longer on the website. It is thick like honey, smells fresh and piney, dissolved easily in spirit and turps.
  8. Hi all, Kremer pigments no longer carries the Strasbourg turpentine dark balsam. Does anyone here know of another supplier? Or a good substitute? Thanks!
  9. I'm getting rid of some old peg shapers. I haven't used them in quite some time. $200 for all 5, shipping included in the USA, pay pal preferred. Message me with any questions.
  10. Jesus, you are an ass. I hope you finally get some help, because there is clearly something wrong with you.
  11. Now that seems like a "waste of time."
  12. I bought one as well. Very happy. Please see thread here.
  13. I was there 1996-97. Dai-Ting Chung (of the Chimei collection) had just graduated when I arrived.
  14. I am really glad to hear someone else voice this. I am not a particularly "otherworldly" person, and some of my most happy and contented years were spent in an old Georgia farm/whore house from the early 1800. But as I live and breath, I have never been more unsettled and downright scared than when I was at the Chimneys house. Once when Ed and Mary went out of town I was granted the honor of staying at the house over night to keep an eye on things. No fucking way. I lasted until 9 or 10, then rode my bike back to my apt in Boiling Springs. Wracked with guilt, I rode my bike back at 4 in the morning to make sure that the place wasn't burgled or burnt, but I never did, nor would I ever, stay the night there. There was a wicked and cruel feeling in that house, and if I'm being honest, it showed in Mary. I hope the two of them have found peace and happiness, cuz it sure didn't seem like they found it there. Weird stuff.
  15. Here are a couple of interesting inscriptions I just found again. From the inside of a John Gould violin, one of my favorite instruments ever. A beautifully executed piece of work. Flawless. Very sweet. Interesting that he lived in Maine. Probably a Summer home. Damn Massholes grabbing up the land even back then.
  16. Guy Booth, Talk is cheap. In the end you either have an instrument that is both visually and aurally pleasing to the point that someone will pay you the money you ask, or you don't. Let's see yours. As David Sora implied, you can put any piece of thrown together crap on top of a peg box, but try selling it to a young musician about to spend real money for the first time on the tool of his or her trade. In the mean time, there seems to be an endless supply of Jay Haide violins out there that retail for around 2k. Beat that. It strikes me that you don't spend enough time around the musicians that ultimately shell out their money for these instruments. I'd love to see the "half dozen" violins you made in your youth that you seem to hold as the standard of hand made violins.
  17. This was many, many years ago. A lot of pictures were taken, but I have no clue where they are. This was at a different shop, with a different hard drive. I miss paper pictures. All the Asa White violins I have seen (I've seen a lot over the years) were quite good. Not sublime works of art, but competent and well executed. They remind me of the better Markneukirchen violins. Indeed, some say that is just what they were. They can sound very good with a bit of fussing over.
  18. "Ladies and gentlemen, let me show you my ground!" Well, what is it?
  19. This might be the most interesting thing I've read on this forum. Any further details you wish to share would be most welcome. Seriously.
  20. My first year at The Chimney's (1996) four of us arranged a visit to the LoC. We showed up, were led into the instrument room by a very nice (if disinterested) man, shown where everything was, and then left alone. We stood there for a second, not quite knowing what to do. Then we had at it! For well over an hour we were left by ourselves. I played the Castlebarco cello, we took measurements, we took pictures, we picked up and handled everything, one of my friends played Turkey in the Straw on the Betts. At no point did anyone so much as pop their head in to see what we were doing. I feel like we could have stayed all day and nobody would care. We eventually just wandered out, said thank you, and left. I don't know if that was just the way it was back then or if we lucked out and just had a particularly lax attendant, but it was absolutely amazing. Four dumbasses in their mid 20's screwing around in a room full of some of the most important instruments ever. The woodwinds and brass were also great! My biggest regret is that I was not even a year into violin making and I honestly had no real idea of what I was looking at. Fortunately I was with someone with a slightly better grasp of these instruments, but I am sure the experience was wasted on me. All the same, I will never forget it.