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Everything posted by arglebargle

  1. 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.
  2. 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.
  3. 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
  4. 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.
  5. 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
  6. I usually just eyeball it, but that sounds about right.
  7. 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!
  8. 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.
  9. 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.
  10. I appreciate your input. The violin is not due on the bench for a while, so I will give it some futher thought. Thanks!
  11. 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?
  12. 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
  13. 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!
  14. 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
  15. 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
  16. The basic idea is that if you bring a broken violin into a shop to have only part of the work done, the luthier that agrees to do that then finds his or herself responsible for all of the problems inherent in the instrument. Imagine: "I usually ride a bike, but I came into possession of this car, and I thought it might be fun to try it out. I know it's not a very good car, but could you do the minimum to get it moving?" "Four new tires on a car with no brakes? No problem! Good luck, and be sure to tell everyone what a deal you got here." I've seen many violins that "just need
  17. The back is fine, and amazingly enough, there is no crack on the top. All that damage was done through the f-hole.
  18. Witness: The importance of knowing what your doing and the importance of leaving it the hell alone when you don't! Never seen anything like this before.
  19. For the record, the company in question produces the best turpentine I have ever used. Beautiful stuff. If you are looking for good turps, I would just buy it from them. If you are looking for fun, then go for it! Good luck and be careful.
  20. Thanks for the info! Using Salve's method, I get 15mm at the bridge location. With a 33mm projection as the goal, the naked neck should have an 18mm projection. I'll proceed with this goal in mind, and report how it goes. By the way, it's a 16.5 inch viola, 240 lower bout, 198 upper bout.
  21. I do this on new instruments where I can set the angle of the neck root before hand, then fit the mortice to that angle. This is an older instrument (not mine) and I'd like to leave the mortise alone and fit the neck to that, rather then the other way around. To that end, it would much easier to get the angle correct w/o a fingerboard glued on. That makes the whole thing a bit hard to plane.
  22. What is it? In the newest Strad, Jan Spidlen puts the number at 17.5 without the board. Does one arrive at this number by simply subtracting the thickness of the board (measured at it's thickest point) from the conventional number? I'm currently setting a new neck into an old viola, and would like to get the angle correct with out messing with a fingerboard at this point, or changing the pre-existing mortise. Standard viola projection is around 33, the old board is 10 at it's highest, so I'm aiming for a boardless projection of 23. Does this sound right, or am I missing something? Than
  23. "...rather than my approach of make the fiddle and see what it looks like when it's done." This was always the most enjoyable way of learning for me. The f**k it, we're making violins, not watches, school. Immersion. Tenacity. Humility. No matter what path, those three are essential to any level of success.