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Everything posted by arglebargle

  1. Guy Booth, Talk is cheap. In the end you either have an instrument that is both visually and aurally pleasing to the point that someone will pay you the money you ask, or you don't. Let's see yours. As David Sora implied, you can put any piece of thrown together crap on top of a peg box, but try selling it to a young musician about to spend real money for the first time on the tool of his or her trade. In the mean time, there seems to be an endless supply of Jay Haide violins out there that retail for around 2k. Beat that. It strikes me that you don't spend enough time around the musicians that ultimately shell out their money for these instruments. I'd love to see the "half dozen" violins you made in your youth that you seem to hold as the standard of hand made violins.
  2. This was many, many years ago. A lot of pictures were taken, but I have no clue where they are. This was at a different shop, with a different hard drive. I miss paper pictures. All the Asa White violins I have seen (I've seen a lot over the years) were quite good. Not sublime works of art, but competent and well executed. They remind me of the better Markneukirchen violins. Indeed, some say that is just what they were. They can sound very good with a bit of fussing over.
  3. "Ladies and gentlemen, let me show you my ground!" Well, what is it?
  4. This might be the most interesting thing I've read on this forum. Any further details you wish to share would be most welcome. Seriously.
  5. My first year at The Chimney's (1996) four of us arranged a visit to the LoC. We showed up, were led into the instrument room by a very nice (if disinterested) man, shown where everything was, and then left alone. We stood there for a second, not quite knowing what to do. Then we had at it! For well over an hour we were left by ourselves. I played the Castlebarco cello, we took measurements, we took pictures, we picked up and handled everything, one of my friends played Turkey in the Straw on the Betts. At no point did anyone so much as pop their head in to see what we were doing. I feel like we could have stayed all day and nobody would care. We eventually just wandered out, said thank you, and left. I don't know if that was just the way it was back then or if we lucked out and just had a particularly lax attendant, but it was absolutely amazing. Four dumbasses in their mid 20's screwing around in a room full of some of the most important instruments ever. The woodwinds and brass were also great! My biggest regret is that I was not even a year into violin making and I honestly had no real idea of what I was looking at. Fortunately I was with someone with a slightly better grasp of these instruments, but I am sure the experience was wasted on me. All the same, I will never forget it.
  6. I don't think they do, and as I said I wouldn't mess with them. It was just an example of interior work that popped into my head.
  7. For me it comes down to art vs tool. Is the violin in question an object of art to be preserved and admired or is it a tool for musicians to use? For all but a few instruments on either end of the spectrum it is some combination of the two. Although on the bottom end I might substitute "trash" for "tool". It also depends on what you consider to be an artist's expression. While there is an "art" too fitting pegs, a well fit set of pegs is not art. The same could be said for graduations and bass bars and fingerboards. In Nathan's example of the terrible sounding American violin, if it is not made to sound "better" it will be relegated to "art" status only. If it is regraduated it could be a violin fulfilling its purpose: making music. To my mind, altering the interior work, or the exterior playability, does not impact the artists statement. There are of course as many exceptions as there are violins and each is a case by case basis. One that comes to mind would be continuous lining that are placed over the blocks. I would not alter that interior work. To me that speaks very strongly of the makers intent. But what is the difference between that and a bass bar? I don't know, aside from a bass bar having much more impact on the sound. I had an Asa White violin open in front of me. Mr White had written very clearly on and around the bass bar Do Not Alter! A later, though contemporary, repair person had written next to it "Very well Mr. White. Here your violin will sit as it was made. Out of sorts and singing a bad tune." Paraphrasing, but you get the idea. This is not a question unique to our time.
  8. Thanks guys. That's what I wanted to hear. I appreciate it.
  9. Hi All, I have a client that just moved to Anchorage and needs some work on a cello that had a little bit of a rough trip. A google search turned up John Osnes and Petr's violin shop, but I have no idea if they are any good. Any feedback or other suggestions would be appreciated. Thank you!
  10. This has also been my feeling. Pristine varnished instruments are for the makers, roughed up varnished instruments are for the players. Another way of looking at it might be pristine varnished violins are art objects, antiqued violins are tools. And of course there are shades in between. When I hand a player a clean varnished instrument all I can think is that it will inevitably get scratched and please be careful with it. With an antiqued one I think "have fun and play the hell out of it!"
  11. Any leads on good, well-aged, cello fingerboards? Seems like they are getting harder and harder to find. Thanks!
  12. Where are you located? You could get in touch with a "local" violin making school and let them know that you are closing shop. I know that when I was a student I would have thought nothing of getting in a car with my friends and driving hours to access good tools, wood, etc. It would certainly be easier to have them come to you. Good luck!
  13. I have found THIS to be very useful. It's not the magnification you are looking for, but I thought I'd mention it. I can use them for long stretches of time without strain or discomfort. Are you looking for inspection magnification or working magnification?
  14. What's the weather like up your own ass? You really come across as a loathsome person. I hope for those in your immediate circle that is wrong.
  15. Can't help with the pigments. Don't know what they are, your varnish, or your methods. Peg holes get bigger. It may take a month or a lifetime, but the pressure of the peg combined with seasonal changes will change the peg hole. When reaming the hole I leave room for a few hard turns in the opposite direction (not the cutting direction) to compress the peg holes, then fit the peg. If the pegs move, just drill a new string hole and trim it. You often have to finesse the ribs of older violins to get them where you want them. Removing them completely will only make it worse. I've had to glue tops back on one clamp at a time to get the ribs where I wanted them.
  16. Got it. I assume you are not a fan of the one piece inserts that are set in both the neck and heel.
  17. Oh my! Do you mean the "pins" inserted into the heel? Would you care to expand on this? Thanks!
  18. In the process of doing a scroll graft on a cello, new instrument, and using this for the first time. An Iwasaki rasp. Not necessarily from Woodcraft, and mine is the fine cut, but wow. I've done many scroll grafts and these work really well and are making quick work of the process. Much better than a regular rasp. Pick one up if you have this job in your future.
  19. Since this came up again, I thought I'd mention this, "stick-fast". I use the medium and I've found it to be the best brand I've used. The loctite mentioned above is also very good. I don't know why, but this stuff just seems to work better than most. It stores really well, and I have virtually no issues with clogging or build-up. I'm on my second bottle in 4 years, and only because the first became too thick. I still have that one and it still works great. I like it.
  20. I don't know about anyone else, but I was excited about the "Tales from the loft- the hunters" entry. Disappointed it was spam.