arglebargle

Members
  • Content Count

    1090
  • Joined

  • Last visited

  • Days Won

    1

Posts posted by arglebargle

  1. Too late for you now, but I always carve the pegbox first. With the blocked squared remove the wood on the face of the pegbox, draw your desired design, and go to town. I find that this makes the work go much faster, as you can clamp the block more aggressively and really go at the pegbox without any worry of damaging the beautiful scroll you just spent hours carving. No worry of blowing out the pegbox walls either. Not sure if this would address your concerns, but there you go.

  2. I just took the top off a Charles Ehricke violin (Albany, 1934 #50) to start on a button repair and found an interesting inscription on the top and back.

    1447354469_Ehrickeback.thumb.jpeg.859c062a90ed0711a98488823fb1fc67.jpeg

    Ehricke_top.thumb.jpeg.ff46ef554b4b7f5c0dd1516fb0009059.jpeg

    Goes to show that messing with other peoples violins was a common enough practice way back then to merit a warning.

    Alright Mr. Ehricke. I won't scrape your violin, but I will fix your broken button.

     

  3. Um, the best cello case ever made?

    Sure, it doesn't have wheels. And the handle tends to fall off. And it's a bit heavy.  But by god, I would take a million of these cases compared to the crap we have now. This beast got me through high school, college, and is still going strong today.

    You know, in a community filled with brilliant structural engineers and creative thinkers why a workable, affordable cello case hasn't been made is beyond me. 

  4. Hunter, you have never played the violin before? Yes?

    If that is the case I might recommend renting one first. The reason being you have no idea what you are listening for when you first start, much less what feels good to you. Think of it like buying a car without knowing how to drive. You can always buy an instrument later, and you will have a better understanding of what you like and don't and what works for you. 

  5. 16 minutes ago, JacksonMaberry said:

    We don't have any power tools other than a drill press in the shop. The big guns (bandsaw, etc) are in a separate building hooked to a cyclone. But dust comes from everywhere - people, even the low grade sanding we do by hand or with his alberti, etc. 

    I might suggest, respectfully, that you are being a bit obsessive. The kind of dust production you are describing seems very standard, if not ideal. We work with wood. There will be wood dust. I may be wrong, but I find it hard to picture producing enough dust with your hand tools to create a health hazard. 

    As far as varnishing goes, I mitigate the effect of dust in my (relatively) small shop by cleaning at night, setting up everything I will need for varnishing, and leaving. Then first thing in the morning, before I touch one f**king thing, I varnish. Not a lot of dust.

  6.  

    41 minutes ago, Mark Norfleet said:

    Or the post was edited to add the information about the maker...
    I didn't see it either when I first read it nor is it in the email I received about the post when it happened.

    Nope. Just a case of three people typing around the same time. Nothing sneaky or underhanded going on.

  7. 16 minutes ago, Michael Darnton said:

    It doesn't not appear that the post caused the crack. It doesn't appear that the crack runs through the post. It doesn't appear that the crack is in an area that would be stressed by the post. Given that the post was not involved, and won't likely be putting any pressure on that area, why would one put in a patch?

    Anyway, in this case even less than my original estimate is what I would charge--given that there is no  post crack, so no crack to glue, and no retouching to that crack that doesn't exist. 

    The cost of the other damage is a totally different question.

    I have to respectfully disagree.

    Yes, the post didn't cause the crack (an errant cello case did) and yes, the crack does not run through the exact location of the post, but I would call this a sound post crack (among other things) any day of the week. Even though the post does not sit directly on the crack, the post would certainly stress the crack more than if it were located somewhere else.

  8. 3 minutes ago, David Burgess said:

    This is getting more and more complicated by the moment. The original post asked about a price for a soundpost patch. The pictured damage involves vastly more than that.

    Alright, sorry.

    Consider it a hypothetical question with a visual aid. Any answers provided here are moot and only serve my curiosity as the decision on how to proceed with the cello will be made regardless of any discussions here.

    Perhaps the better question is not the cost of a S.P. patch in this instance, but an estimate for the entirety of the thing. There are clearly many other aspects to this and maybe it is unreasonable to single out the patch outside of the rest of the work. Again, assuming that the owner insists on doing the work (not the case here) and not replacing the top/ trashing the cello.

     Never meant for it to get contentious, just asked a question.

  9. Just to be clear:

    I never said it was an "abnormally problematic" repair. However, it is certainly a major restoration that  requires a high level of skill to execute correctly.

    The maker is alive and active, aware of the situation, and involved. Most likely not going to repair the damage. Perhaps a new top, perhaps a new instrument, maybe neither.

    The original question was only about the rate of a sound post patch for damage like this, not a simple crack, and assuming that the owner insists on having the work done, regardless of cost. Not the case here, but assuming it was.

     

     

  10. 1 hour ago, martin swan said:

    my eyes also boggled somewhat ...!

     

    Yeah, I get it.

    I have a tendency to under-charge for my work. Compared to other shops in my region my bridges are a steal. However, a sound-post patch is a major undertaking with long-term effects and consequences. The cello in question is a very good instrument, and the damage to the top very severe. So, after your eyes are done boggling, what would you charge? I asked the original question because I want to know, not to raise eyebrows.

    And to clarify, a hairline sound-post crack on a Jay Haide cello would not warrant a 3-5k repair in my shop. A s.p. patch is a s.p. patch, until it's on a valuable instrument, no?

  11. 2 hours ago, Conor Russell said:

    3 - 5 thousand dollars to fit a patch in a front?

    Yes. That's why I'm asking. How off base am I? This is a smashed top, not just a hairline crack. I know the basic procedure is the same, but there are sound-post cracks and there are sound-post cracks(!).

  12. Hi all,

    I'm curious what the current rate for a cello sound-post patch is. Only the patch, not removing the top and retouch.

    I haven't done one in a long time, and I may have the need too soon.

    FYI, I usually ask between 3k and 5k, depending on the severity.

    Thanks!

  13. 14 hours ago, Melvin Goldsmith said:

    I bought in a couple of corene ones to try. ..First impression was a chemical smell, The playing surface seems almost ready to go but  they seemed so acoustically dead compared to Ebony that I was scared to progress, . It's a near perfect board saving 2 hours, However colleagues tell  a lot about these coming unglued plus it seems acoustically dead....I am looking for every small percentage of gain....I think these could be a slight gain for me in work time but not for my customer so they go in the bin

    That was my experience. Tried it on a violin, it came off, re-glued it, it came off a second time and went straight in the trash. I contacted them about this and they suggested scoring the underside, but still not a risk worth taking.

  14. 5 hours ago, morgana said:

    Hi Evan, luv. I know I would like to ask you for advice but, I would rather not. I know how to finish a violin as well as start, middle and er nd but I am not sure yet that you would stick your neck out and put examples are your crafting of a violin and it's varnishing up. I am a woman and have. ... if you don't mind, stop slagging off me and women. Okay? I will post a photo of my finish in detail just to prove that I am worthwhile maybe listening to without being attacked. I actually make violins you know luv. X

    What are you talking about?

  15. 8 hours ago, violguy said:

    The mould IS the instrument!! In other words,the function and appearance of the finished mould should reflect the makers' approach to the completion of the final instrument. Taking short-cuts in the mould making process can lead to taking short-cuts else where in the building process! Now I know this will bring up the inevitable comparison of skeleton moulds vs. full body moulds,but even a skeleton mould should be made carefully and with much thought to good craftsperson principles.

    Ok, I have shot my dart!

    More to the point, if you don't have the ability to make an accurate, workable mold, you might as well hang up your violin making aspirations now.