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Everything posted by arglebargle

  1. Since nobody brought it up here yet, I don't use any oil to finish the fingerboard (or any ebony). I use bee's wax furniture polish. It's an Australian product (Mother of Pearl and Sons) that contains beeswax, gum elemi, and little linseed oil (so I guess I do use oil ). Thin with some good turp, apply with 4o steel wool, let dry for a few minutes, and buff out with a clean rag. For what it's worth.
  2. I'm curious. How many of the two big boys ( Strad, and dG) have their original bass bar? Not the instruments in museums, but the ones out everyday making a living. Anyone know?
  3. "Consarn!!! I forgot the purfling!"
  4. Thanks. That looks very light and easy to use. I'm sure mine weighs a ton in comparison.
  5. I was wondering how people here construct their cello molds/forms. There seems to be quite a few methods. Owing to the rib height, a one piece mold seems a little too flimsy, unless you use a really thick piece of wood. I've gone trough a couple of styles and methods, but haven't hit on one that really clicks for me. I've included some pictures of my current iteration, but I'm always interested in trying new and better ways. The blocks are attached to the center piece only, with removable supports along the upper, lower, and middle bouts. The linings can be installed, the suppo
  6. I've had a Starrett micrometer for years and have no use for it. It is a paper micrometer, and not metric. Maybe for purfling? Not really a luthiers tool, but there are many here with varied interests and skills, so I thought someone might take a fancy to it. PM me if you are interested.
  7. I really prefer to do any rubbing out with oil, but you have to get it all off. After I get "all" the oil off, I dust it with Kaolin, or some other fat absorbing clay powder, wipe it clean, and then do it again. It doesn't take very long, and gets any leftovers out of your way. Lots of paper towels!
  8. Roger, I LOVE the picture of the saddle with the file resting gently on the top of the violin. It's much easier to access them when they are that close at hand.
  9. Looks like maple, not Italian poplar.
  10. YEAH! I did that once (drilling through, not the head) with an electric cello I helped a kid build, and that sure made the whole thing a lot easier. To bad classical aesthetics does not approve.
  11. Hey Craig, I leave the peg holes till the very end, as in the thing is varnished and I'm doing the set-up. I mark the holes with a pencil on the squared block for a depth reference, but the actual drilling happens at the end. I use a gimlet to start the holes. This obviously won't work if you set it up in the white, but I don't. I like not worrying about getting oils and abrasives and varnishes etc. in the holes, even if they are under sized.
  12. I have found the carving of the pegbox MUCH easier when done first, with the block still square. I used to do it last, after the scroll was done, but it always felt wrong to me. So I changed. I square the block and get it to the proper dimensions, draw on the template, and cut the pegbox bed out of the wood. Then I mark the pegbox walls, and bash away. The extra wood and lack of scroll allows me to work more aggressively and quicker, as I am not worried about all that carving I just did. Maybe it's all in my head, but it works for me.
  13. Yeah, o.k. I guess my point is that there is a difference between working quickly and rushing. Gluing two pieces of maple together for a cello back requires skill and the ability to work quickly. If you dry clamp it a few times, have your clamps prepared, the glue pot and brushes at hand, clean-up material at hand, etc. then when it comes time to actually do it you can work fast and confidently. There are, of course, jobs that are very time sensitive. My point was that if your are approaching said job with the feeling that you don't have enough time to do it well and may screw it up, y
  14. Any (ANY) step in the violin making and (especially) restoration process that makes you feel rushed indicates that you are doing it wrong. You should feel and act comfortably with every aspect of this process. If you approach a job with nervous hands and unsure mind, you will screw it up, or at the very least do it poorly. If that clamping set-up doesn't work for you, practice until it does, or throw it out and try a different one. I use individual herdim style closing clamps, clamp the corners and figure out where everything fits, then carefully glue the plates one section at a time. N
  15. Honest question, why do you assume a CNC machine was used?
  16. Since it hasn't come up yet, I'll throw this in. Floored me the first time I saw it. (on this forum, btw) By Ferruccio Laviani
  17. FURTHER This is a real thing! Go ahead and marinate on that for a bit.
  18. ALSO A really good book: Seriously, it is very funny.
  19. How about this. Saturday, June 21st, the first day of Summer, starting at 9 am, ending at noon. Participants start whenever the clock hits 9am on that day, whatever time zone they are in. The staring point is the neck block pictured in post #12. Sound good?
  20. I do not need any lessons on history, thank you very much. And I do a very good job keeping up with world affairs, thanks again. My question has nothing to do with history, but rather how does a violin with the word DUCE written on the back do harm, and to whom? Are you really proposing that this violin could be used as a propaganda tool today? By giving these things some sort of talismanic power you allow them to be used. Power attracts all sorts, often bad. Take away the power and nobody would be interested in a violin with an Italian word ham-handedly scrawled on the back. By insi
  21. How does it do any harm? Who is it harming? I don't believe that coming across an historical article with the name or symbol of a dictator on it, placed there by some long dead maker, counts as hate speech in any way. Nor does selling it. Are you suggesting that by selling this violin Tarisio is advocating the policies of Mussolini? I hope not.
  22. Also, it is a bit unfair to assume to know the true feeling and political leanings of a long dead stranger. Many were swept up in the embrace of fascism and it's twisted utopian promises. Many also "woke up" at some point. Unfortunately, too few too late. But perhaps this man later in life rejected the poisonous ideaology he embraced and spent the rest of his days working for good. Maybe. Maybe not. Not every child, or adult for that matter, that scrawled a swastika, or other fascist symbol, on their possessions were evil. Many, even most, were just weak and ignorant. Words and symbols