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Everything posted by arglebargle

  1. Joe, It is primarily red/brown, with a bit of gold. (80 to 20 ish) Applied only after the first balsam, and not added to any other step. I am quite pleased with the results, so thanks! The spruce is always a tricky part for me in this process, as it drinks the stuff up so easily. I wonder if maybe adding the color to the top later in the process (after step 3?) would mitigate some of the quick absorption and disperse the color a little more evenly? Anyway, as always I have something I can easily work with as I add varnish and color.
  2. Not trying to hijack Joe's thread, but I just finished grounding a cello using his system. Here are the results. Outside, direct and indirect light.
  3. Opened the doors to the shop for the day, and left them open. This was the first customer.
  4. Further, as a cellist, I understand that the tension or pressure created by the spike/endpin is not all that great. It basically serves to a) stop the cello from slinding across the stage and allow the player greater freedom of movement. With the cello body resting on the players chest, the tension delivered to the spike is a variable, less tension resting or soft playing, and greater tension during aggressive, loud playing. The extra endbutton would eliminate this variable. The tension from the tailpiece would be constant, the endpin variable would not effect the tailpiece, and therefore not
  5. Sorry, no. What I meant was that perhaps the extra endbutton would relieve, or distribute along the block, the tension created by the tailpiece and endpin. That is, the endbutton bears the tailpiece tension, the endpin bears the tension created by supporting the cello while playing. Speculation, and I don't know what benefit that would have structuraly or sound-wise. The cello I saw this on sounds spectacular, by the way.
  6. Get busy! That (Mathew) was the sort of thing I was wondering about. I don't know if I could stand the appearance of an off-centered end-pin. I can see a player noticing and assuming poor workmanship rather than a deliberate effort. Is your off-set very noticeable? I think keeping the end-pin centered in important, but moving it up or down along the center line.? The pressure from the tailpiece tension combined with the pressure of the endpin supporting the cello while playing pulls the outside of the endpin up, and at the same time pushes the inside of the endpin down, so I suppose
  7. Hi all, I'm getting ready to drill a new endpin hole, and then I started thinking. I've always centered them dead in the middle. Awhile back, I saw a cello by a very well known maker with an interesting set-up down there. There was an end button and an endpin. The end button was cello sized, and placed approx. 1/3 down from the top, and the endpin 1/3 up from the bottom. Has anyone also done this? What might be the benefit? So, does anyone out there place the endpin anywhere else besides in the center? And if so, why? Thanks! These pictures are the best I
  8. Thanks Jeffery! I also leave a gap on either side of the saddle. I further round off the corners of the saddle, leaving a little hole at each corner. I then melt black crayon into the holes and on either side, so it looks nice and tight, but isn't.
  9. A grafting block is roughly 34cm x 15cm x 55mm. That should leave you plenty of room, and be easy enough to find.
  10. So, here's what I went and did: The routed channel was then widened and cleaned by hand, the cf rod glued in, a thin strip of maple veneer then glued over that. All of which I neglected to photograph. I'll try to remember to take a picture of it when I remove the f.b. for varnishing. Thoughts?
  11. It seems like a lot of work for not a lot of benefit. The scroll graft is pretty conventional, but the rest not so much. Aesthetically, I personally would find the four piece heel distracting and ugly. As far as saving wood, there is lots of plain maple to be had, which is what you really want for the grafted neck. Any lumber yard should have something suitable. As far as stability, Melvin's method is great, but there are better ways to stabilize the heel then glueing together four pieces. Ideas here.
  12. Roger, are you using sandpaper to keep the ribs from slipping? If so, huzzah! That's a great idea. If not...
  13. You can find them here, apparently. I'll contact them about price. This thing coupled with two dowels in the heel and that sucker isn't going anywhere,ever!!!
  14. I'll second (third?fourth?) everything said so far. Second hand is the way to go. It will be cheaper and the steel will be better. Also don't go overboard with the quantity. Read Rogers post again. However, since you are interested in making a violin, not necessarily spending your time hunting for nice old gouges, you might want to just buy a few to start. For that purpose I recommend the pfeil Swiss made brand. Woodcraft has them in spades. They are not the best by any means, (and not much liked on maestronet )but they are a good starting point. You should be able to get 5 or so for un
  15. Please allow me to revive this thread, as I am about to finish a cello neck and would like to employ some (or all!!!) of the methods described here. A basic question: where is the best place to buy the carbon fiber rods we are talking about, and what dimensions am I looking for? So, what I understand is that there are two different problems that these methods (carbon rod and "the Burgess solution" ) address. The carbon rod primarily addresses warping of the neck, which can result in a drop in projection, but not always, and an overall warping/twisting, whether left and right along th
  16. I found it to be sharp right out of the box. As mentioned, there is a video out there demonstrating how to sharpen it. Think ice skate blades. The cutting edge is concave.
  17. Hi all, I just got this scraper. Well, a few weeks ago. I got the mini, and found it too aggressive for spruce and maple. However, it is brilliant on ebony. In particular hollowing the underside. Worth the money if only just for that purpose. I assume everyone already has something they use, but hey. Change is good sometimes. Just letting you good people know.
  18. At this point, a bit of going in circles? I understand what you mean, but I don't see it that way. What I respond to is not the underlying geometry. What I respond to is the manifestation of that geometry, which resonates with me not as a geometric example, but as a representation of the natural form. The mathematical explanation of that form is inconsequential. Curious, but inconsequential. And yes, certainly by observation. When you observe a thing of geometric beauty, you know it. When you attempt to re-create it, whether through geometry, or meticulous planning, or trial and error, or fr
  19. A further thought: Geometry. H.P. Lovecraft. At the Mountains of Madness. He describes the ruins as (paraphrase) possessing an alien or otherworldly geometry that was incomprehensible to men. The simple observation of such a geometry would drive you MAD! As a kid I would try as hard as I could to envision that kind of "geometry". It is, of course, impossible. For the most part, we are beholden to the geometry we daily observe. Even the most surreal of artists are trapped within the confines of our observable universe. Which is to say, geometry (our version) permeates our very existen
  20. I would argue that they are elegant because the scroll, and other spiral forms, stir in humans a primal recognition. Upon observing an unfurling fern or the spinning of a galaxy the reaction, if any, is one of emotional awe and gut level recognition. There is a resonance that we feel, for what ever reason. The underlying geometry came after this resonance and recognition, as a result of trying to understand the feelings. The scroll/spiral is a primal, basic form. It was obviously here long before we created the geometry to quantify it, and the thrall of it stems from that primacy, not the quan
  21. I take your meaning (I think), but I was not talking about the interior of the pegbox as the reference point, but the entirety of it. Meaning the pegbox walls. Here's how I look at it. The back of the scroll (and really the scroll itself) is ornamentation and not crucial to the function and playability of the instrument. The important part is having a pegbox opening wide enough to accept the strings at a reasonable spacing and allow access to the pegs, and pegbox walls thick enough to support the pegs without cracking. Once those criteria are met, the design can move on from there. That is
  22. I agree. There was a discussion here awhile back about the pegbox being the first aspect established and carved in the whole process. Once the "front" is set, the "back" flows from that, out of necessity.
  23. After they are rich and successful? After they have married a rich and successful spouse?