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Everything posted by arglebargle

  1. 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.
  2. By what method? Abrasive or scraper or knife?
  3. 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
  4. Looks like you get to buy a few of these.
  5. 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?
  6. 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.
  7. 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
  8. 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.
  9. Hi all, Thank you for your replies. Shitty day. Not much time to respond. Tomorrow will be better, and I do appreciate your time. To bed, and good luck.
  10. Hi all, I recently bought some maple from an area wood lot. The price was great and the owners were very nice. I have 6 one piece slab cut backs, which I can handle. I also have three logs, pictured here: My question is how best to process these logs using the tools at hand, which are the usual hand tools and a 14" bandsaw. What is the best order of operation? I would like to get two backs from each log, and as much rib stock as I can squeeze out of them. There is a lumber mill nearby that could do it, but I'd rather do it myself and save some cash. Any help is a
  11. So, if it's made as a joke, but in order to make the joke, you actually made the thing (as it appears they did) and the thing actually works (as it appears to do), is it still a joke? Why is it not an actual thing to buy and sell? What if I want one? Would they not make me one? I guess someone had a lot of time on their hands.
  12. I think the word for wood treatment is moderation, if you do it at all. After a "few weeks" of ammonia treatment, I would expect the wood to be damaged, or at least sigificantly altered, for better or worse. A much less aggressive treatment may still give results while eliminating, or at least minimizing, any damage. The same with ozone treatment. A little goes a long way. Correct me if I am wrong, but doesn't prolonged exposure to natural sunlight mimic the effects of the ozone treatment? So if you over do the tanning of a violin, it can still have negative effects similar to ozone tre
  13. I usually just eyeball it, but that sounds about right.
  14. Woodland, have you used vulpex before? It's fantastic stuff, but please be careful with it. You have to dilute it quite a bit, or it can damage the varnish. 2 to 1, 3 to 1 water to vulpex at least. Sorry if you already knew this. Good luck!
  15. I think the first method is the best. I've used it for years and find the visual reference it creates very useful. You need to understand what the contour lines are telling you, but once you get that, adjustments are quick and easy. It's simple to measure from the center line, (or any point of reference) with dividers to determine symmetry. Or to create a lack of it, if that's your thing.
  16. The only way this makes sense to me is if the wood was bought buy a player/buyer for a commisioned instrument. The cost of the wood would be deducted from the usual price of the finished instrument. But even then it still leaves me puzzled. The one piece cello back Melvin shared some time ago was much nicer then these, and for less money, I would assume.
  17. I appreciate your input. The violin is not due on the bench for a while, so I will give it some futher thought. Thanks!
  18. Thanks Jeffery, I didn't mean to sound cavalier. I always try to do the best possible work for the instrument at hand. My thinking was since there is no s.p. crack, and the thickness of the area, once the dent is gone, will be 2mm, an excavated sound post patch, with a counterform and all the prep that entails, is not really necessary. A Cuypers, or something similar, is a different story. (This is a Roth. A nice one, but a Roth.) A well excecuted surface patch, a veneer, more for reinforcement of a thin area than anything else, should be sufficient, in my opinion. Thoughts?
  19. Thanks guys! I soaked the dent (gash, gouge?) for the sake of it, too see what would happen. Not much of anything happened. The value of the violin is just enough to make the work worth while, but not quite enough to justify a huge restoration effort. I'm going to remove wood in the chest area to bring the whole thing down to around 3mm (currently at 3.5+) in order to make the difference between the s.p. area and the rest less severe. Then remove the dent. This will put the s.p. at +2mm. A thin veneer patch will, when blended in, bring the whole of the chest area to a consistent +/_ 3m
  20. With all due respect, that ---- isn't going to swell out. You can see where the spruce has actually been pushed aside, leaving no wood to swell out. I'm leaning towards a small regraduation, and a surface patch over the (necessarily) thin soundpost area. Thanks!
  21. Alright. Hold on. Taking the top off a violin can be one of the most difficult operations in this whole business. I've had tops come off in a matter of minutes, and tops that have taken upwards of an hour. There is no limit to the damage that you can do to a violin while removing the top. You can create a bass barre crack, a soundpost crack, you can drive the opening knife right through the top, and on and on. Should we be encouraging people to try this the first time without help? Now, I'm all for DIY learning, but this is one aspect that should be taught, in person, by a "pro
  22. Well, the surrounding wood sits at 3.5 mm, and the damage at it's deepest sits at around 2mm. I don't think there is any way to swell the wood out to a point of recovery. As I see it, in order to get rid of the gouge, you need to either regraduate the top, and reinforce the soundpost area, or put in a real soundpost patch and leave the rest of the top alone. As to your last sentence, I can think of 2 violins where the top eventually came off and I said "Oh! That's why I can't get a SP to fit." Swelling and a little scraping fixed one. Divots and dents can be worked with, but this..This