arglebargle

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Everything posted by arglebargle

  1. This area? Yep. I've got room to move.
  2. Hi all, I'm hoping to get some feedback on this cello model. It is based on an Italian cello of mysterious provenance, which was supposedly based on the Beatrice-Harrison P. Guarneri. The original cello sounded fantastic and was very easy to play, so I thought I'd give it a go. I wonder if I've wandered too far afield. It has elements of the Guarneri, but more closely resembles the Italian copy. Anyway, I've been staring at it for too long and would love to get some other thoughts on it. There is still a bit of room to adjust, and the corners are still long. Thanks!
  3. Hi everyone, I'm looking for suggestions for a good source of spruce, cello size. I would prefer a dealer in the USA for shipping reasons, but I'm open to whatever. I've been using Simeon Chambers for violin/viola tops, but it seems he doesn't do cellos. Thanks!
  4. First off, relax. Second, strip the thing and do it over. YOU do it. If you make a violin, make ALL of the violin. Even if you have no idea what you are doing. To get as far as you did and then turn the varnish over to some one else, no. I think what is really upsetting you is that some one else "screwed-up" your violin. The solution? You screw it up yourself! MOST of the violin makers I know have stripped the varnish off one or more of their instruments, and NONE have regretted it. Think like this, if you messed up the f-holes really badly, (or discovered a big sap pock
  5. I think this is an American phenomenon. Lloyd Loar, a mandolin maker that worked for Gibson in the 1920's, started putting these in mandolins and violins (and apparently cellos and probably anything else he could get his hands on). They are attached to the underside of the top of the instrument by "feet", attached to the bass bar or the bracing. The idea was that it would provide an additional vibrating surface and enhance and "mellow" the sound. When bluegrass took over the mandolin and needed to cut through the banjos and the guitars and the hollerin, they were removed to brighten the soun
  6. I didn't make it, but it's on my bench. A virzi tone "eliminator" FOR CELLO! I've never seen one this big before. I'll say this for it, they really did take some time and effort to make these things look nice and finished. fyi, it's about 324 mm long.
  7. Probably. But it would be a pain to shape them. The cork really helps get a nice fit. I've always wanted to try the J and C method, Joe, but I've never gotten around to it. I like the simplicity. Once I find a method that works, I find it hard to break away and go in another direction. (with every aspect aside from varnish, of course.)
  8. That's a great idea! I'll try that next time, though probably with a hair dryer. I often tap the ends of the last block glued with a small hammer to get a snug fit, and I imagine that having a warm block would allow the rib to move a bit more. Nice.
  9. Interesting method. It looks a little hard to control. FYI: This is the method I've been using for years. Similar to the traditional string and dowel method, but I find it much quicker to assemble and much easier to control and adjust. All the parts are inter-changeable, and after a few instruments, you'll have plenty of shapes to choose from.
  10. My latest violin. Ornati model, more or less. The most aggressive antiquing I've tried so far. As always, thoughts, comments, criticism, and question are welcome. and some texture:
  11. Best turpentine currently available. Hands down.
  12. Hi Julian, the date escapes me right now, but I'll look it up when I am back in the shop.
  13. Jeez amori, lighten up. I read through all the responses and most were supportive and expressed an interest in your project. If you don't want feedback/criticism, don't post pictures, or maybe request people keep there opinions to themselves (unless they are positive, I assume). For someone with over 1000 posts I would think you could expect this reaction, which, as I pointed out, was mostly positive and encouraging.
  14. One of the best scrolls I have come across is attached to a beautiful Franz Geissenhof. Actually, I'll go as far as saying it is my favorite scroll out there.
  15. By what method? Abrasive or scraper or knife?
  16. As mentioned somewhere above, the only reason I "rub out" the varvish in between coats is to get rid of the dust and crap that stand above the surface of the varnish. Not to make the layer thinner. My questions for those that don't "rub out" the dust etc.: what do you do about the dust? Do you layer over it and save it all till the end? Do most makers have a dust free enviroment to varnish in? I believe that old Cremona was a very dusty place, so what did they do? Even with one coat of varnish there would have to be stuff standing above the varnish. Did they come off the bench full of nubble
  17. Looks like you get to buy a few of these. http://petermach.com/gallery_M-C.htm
  18. Just curious, does the person/shop you have these violins from know you are posting pictures of them on a public forum and soliciting comments?
  19. Curved tailpiece. Huh! I like it. Aesthetically it doesn't bother me, but I can see what you mean with the extra pressure on the saddle and eventually pulling it up and away. I assume that I would have to make the tailpiece myself. First time for everything. I'll keep my eye on it over the next few days. Would changing the saddle angle relieve some of the stress? I mean by moving the front side angle back towards the button, thus positioning the gut further back towards the button.
  20. Doing a set-up on a 17 inch viola, nice full arching. I set the tailpiece at 62 from the bridge, tune it up and discover the tailpiece sits on the top, just. Quite a bit of buzzing ensues. The projection is perfect. The saddle is fine, but the only way to keep the t.p. off the top is to set it really close to the saddle. My solution is to make a very high saddle, 12.5 mm high. Everything works and it plays fine. Any other suggestions on how to fix this problem? (I have the original saddle. It's reversible.) Also, watch how high your arching is as it approaches the saddle! Ne
  21. This is a pet peeve of mine. Don't drop a bridge after you have fit the feet! Much like the jelly side always landing on the ground, a dropped bridge will almost always land on a perfectly fit corner of a foot. The resulting divot will almost always require further foot fitting. DAMMIT! And I always seem to drop them right before I finish the cursed thing. Perhaps because at that point I handle the thing like a baby bird? Anyway, caveat= don't do it.