arglebargle

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Everything posted by arglebargle

  1. That's the first thing that jumped out at me, whatever the thing might be. For 25k you should expect perfection in every aspect of playability and appearance. You should also expect a certification. And a dinner and massage.
  2. BIRTHDAY!!!! Yep. I think the tormek is a fantastic sharpening system. Buy it. But I'm curious. What have you been doing all this time that suddenly you need a new outfit? Clearly you have had sharp tools all these years. Once you learn how to use the jigs, which you have to buy, it is a very simple set up. However, as Jeff said, you will need finishing stones. To add: I don't see this system as a free hand exercise. The various jigs they offer are really what make the outfit work. You need to purchase them, not all, and get comfortable using them. Then it's a breeze.
  3. I would love, if you have the time and inclination, to see pictures of bridge blanks that you find great, or even good, or even sufficient or adequate. Also crappy ones. And everyone else as well. I've always found written descriptions of the key features of bridge figure lacking. THANKS!
  4. Kind of puts our quaint little scrolls into perspective. http://www.randallrosenthal.com/Pages/New%20Pages/cutting_board_page.htm Be sure to check out the rest of his site.
  5. arglebargle

    Salver

    These are they: The one on the left is used all the time. If a violin has to be put on the bench, it goes on this. If it has no varnish, it goes on this with a clean cloth underneath. The one on the right is handy for holding loose plates, holding bodies with the top off, and aggressive arching/ graduation jobs. The one on the left was designed by Guy Rabut (?) and presented in The Strad. I love it. Obviously for loose plates, arching and graduating. Nice stable support, not as aggressive as the other one. The one on the right suspends the plate for applying cleats, and, in conjuncti
  6. arglebargle

    Salver

    I don't know about "everyone", but everyone that I know uses one. I have four different supports/cradles I use for various aspects of making and restoration, and a fair amount for viola and cello as well. Primarily for support, stability, and to secure the plate while working it.
  7. never heard of it, but it reminded me of this book of short stories. It's fantastic! http://www.amazon.com/Jagannath-Stories-Karin-Tidbeck/dp/0985790407/ref=sr_1_1?s=books&ie=UTF8&qid=1389571195&sr=1-1&keywords=jagannath
  8. Sorry, but I don't see much about the second violin that speaks of Germany to me. Care to point out what you see that leads you there? No disrespect, I just don't see it.
  9. There are a lot of great thoughts and answers here. Almost a consensus!? Let me just add, I think that a valid way of thinking about art versus craft is the subjects functionality. That is, what is it for? Is is built to use, or only built for aesthetic consumption? Stairs are built to use. Paintings are made to consume. Furniture is made to use, sculpture is made to consume. Violins are made to use, the music they produce is made to consume. Very broadly then, a craftsman makes "useful" things, an artist makes "useless" things. Now of course, there are no absolutes and the
  10. Hooray! What do you advise players to do to "take care" of their bridges?
  11. How about scrapers!? I've used them before to put the slight hollow in the surface, both along the length and width.
  12. Sorry. I sound like a grumpy snoot. I guess what gets my dander up is the fact that when actual violin makers (and by that I mean people that earn their bread and butter solely from making new instruments) pipe up with advice or admonishments regarding the difficulties of a particular skill set, or the necessities of having this or that firmly in hand, there often seems to be a chorus of people ready to disagree and argue that that advice is worth no more or less then what they themselves have to offer. I don't know. To me, the people that have always given me the best advice,
  13. Listen. If this has to be boiled down, how about this: Everybody here is passionate about violin making and has or is developing opinions about it. But perhaps some have a little more on the line then others? Violin making as a hobby for retirees with a pension as opposed to violin making school grads with bills to pay, or independents with no plan B because they love it. When one group gets a little snippy with the other, perhaps it's to be expected. If you can't easily join two plates, then you have no business making instruments. Wait. Sorry. Make all the instruments you
  14. Yep. The woodworking skills required for violin making are really very basic. I always say that violin making is more like wood carving/sculpting than carpentry. I'll make you a very nice instrument. I'll make you a pretty average chest of drawers, at best. (Or a decent spice rack, if we're dating.)
  15. Nice sentence!!! Let's all take a few seconds to read it again. Huzzah! (However, now all I can think about are appendix sausages. yum.)
  16. Thanks for the info. I've got more questions, I think. But for now I would like to express an appreciation for workshop photos, and the small things they show. Direct your attention to the third photo. See anything? There is a lot, but what I love is the single paper clip hanging from a nail. At some point that happened, for what ever reason. A small gesture. Why? Who knows? Who cares? Not me. People being people all over the world. Thanks.
  17. 1707 'La Cathedrale' has two, very small, wings.