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Everything posted by arglebargle

  1. Easy now. I meant that putting an expression or symbol of your belief or your faith or your political leanings on your creation is similar. NOT that the star of David is similar to a fascist dictator. The act is similar, not the symbol. With respect for the victims of fascism, why not let this violin make beautiful music and bring some beauty and happiness to others. That is what it was, and still is, for.
  2. I understand what you are saying, and the difference, but I don't think this is an example of fascist propaganda. More likely just an overly enthusiastic maker. I think it was meant, from the beginning, to be a violin. Not very different from the star of david violins that come up every now and then. ( I mean, besides one being a religious symbol and the other being an insane dictator.) It is a very poor example of fascist propaganda, if that's what it's suppose to be, and one of the thing these kinds of governments did exceptionally well was propaganda. What are your concerns rega
  3. It was Manlio Rovescalli I was thinking of. He was a police officer in Milan. So, one could say he was "involved".
  4. By Blank faces logic, many Italian violins from the 1920-30-40s, would have to be consigned to the dustbin of history. That would be a shame. I seem to remember one particularly good maker was an admitted fascist, and was shot after Il Duces fall. Pedrazzini? Rovescalli? Don't remember right now, but having held and played the instrument, I can assure you that the violin bears no responsibility for the actions of it's maker or the government the maker supported.
  5. So enough bullshitting. Pick a date and time and let's do it already. Talk is cheap, and time is money.
  6. It's been my observation that classical players really like the feel and method of tuning with traditional pegs. Of course, that's given that the pegs fit and work well. Tuning by listening to the open fifth between strings and bringing the pitch up to it, till it "clicks", has a different feel when done with peg head type pegs. It's ultimately slower, I think. I found that traditional music players often prefer them. No judgement, just an observation. I would always start out with traditional pegs, and offer to install pegheads upon purchase. (But I would always use "peghead
  7. Let me just jump in here real quick. I'm not saying that anyone is doing this, but lets not knock the Brescian/ deSalo scroll. I don't think it is a particularly simple or unrefined scroll. Not my favorite, but it does have it's charms. The front and back view can be particularly whimsical. Note the first two photos in post #40. This is not easy to do, and still retain an air of competence. I have made exactly one deSalo style viola, and thus exactly one deSalo scroll. But I found it to be a challenge in ways that other scrolls are not, and an altogether fun and illuminating experience.
  8. That's a good starting point for three hours. Keep in mind, a finished scroll would include the fluting, an important aspect requiring a bit of time and skill.
  9. Or, if you really want to whip it out, forget all those scrolls with "personalities". 3 hours to make the cleanest, most classical scroll you can.
  10. So... 3 hours for what? The scroll only? Or the pegbox and throat and neck and heel as well? I know that I can carve a scroll (and only the scroll) in three hours or less. I also know that is will be far from my best work/effort. One thing that no one has brought up in this flurry of timed work, is how one sees the work they are doing. I can finish the arching much less time then I take, because I allow myself time to step back from the work and rest my eyes/perception. Same with a scroll. I allow myself to stop at a certain point so that I can approach the piece with a rested a
  11. Hi all, So I have a question for those who use Joe Robson's vanishes. Specifically the greek pitch ones. I have thinned and brushed his amber and copal varnishes (a long time ago) with good success. I am curious about thinning the Greek pitch varnishes to the point where they are brushable. Does anyone have any experience doing it this way. I have always applied them thick, with a brush, then spread and evened with my fingers and hands. I am thinking of mixing the greek pitch with some dark amber, and going from there. Any experiences would be appreciated. Joe is very good abou
  12. If it's not too late, I would remove the cleats and replace them with much smaller ones. 8x12 or 10x14 mm is plenty big. That way you will have much more bass bar touching the top. Either fit the bar so there is NO space at all, or leave space all around. If only one part of the cleat touches the bar, it will buzz. (It's never too late. )
  13. Hi David, That looks like a nice Squire. Is this something you are going to restore yourself? What else does it need?
  14. Lets assume a few things. 1. You know what you are doing, as in you don't have to stop working to noodle out how to proceed to the next step. 2. You are only making one violin. 3. All jigs and supplies are made and at hand, all forms and templates are done. 4. You are working an 8 hour day, with a lunch break, and minimal distractions. (I'm looking at you, internet.) Weekends off. 5. Varnish and ground and tanning etc. not included. You should be able to get a violin done easily in two weeks. Probably less. But all the above assumptions are not part of the real world, so
  15. Anyone NOT still interested is probably on the wrong forum.
  16. Bassclef, Seriously, you seem like a delightful person with a genuine interest in violin work. So go take some classes!!!!! There are MANY restoration classes offered all over the place. GO! There you will find many like minded people that you can ask questions to face to face. FACE TO FACE! Maestronet is a wonderful forum. The advice handed out here (FOR FREE!) is priceless. (redundant?) So many brilliant minds with so many words. But one needs a jumping off point. And Maestronet is not a jumping off point. You can get your toe really wet, but... You need to speak to real peopl
  17. If you are going to go the power tool route, the planer is too aggressive for rib stock. When you get it down to the +/- 2mm you need for cello ribs a planer will just chew it up. You want a thickness sander, or drum sander. The planer is great for other aspects though. That being said, a toothed blade and scraper combo is the best. If you bought your ribs pre-cut, the thickness shouldn't be too far off anyway.
  18. Awesome! Thank you for the info. I wonder, is the second example I posted an anomaly, or was that severe taper a conventional style from somewhere or some time.
  19. Closer to the mirecourt style on the link you provided, but with still less bulge.
  20. It is basically a swiss style peg, but a bit rounder, and less of a recurve/bulge towards the end. I've seen enough of them on older violins to assume that they were a distinct style at one point. They really feel nice when compared to the standard swiss style pegs.
  21. That looks pretty close, but I think the "E" style might be closer. Thanks.
  22. Similar to these, but not as extreme.
  23. Hi all, I've come across this style of pegs on several older instruments, and I find them very comfortable and visually appealing. Also impossible to find. Does anyone know the name of this style, and short of having them made, if they are still available anywhere? Thanks!
  24. Just got a couple. Wow. These are great. (Aside from the latex stink.) I can see a lot of uses, once cut into the right shapes. Scraping the arching just got a lot easier as I can move the piece anyway I want without fussing with a cradle or clamp. Thanks for the suggestion!