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Everything posted by arglebargle

  1. Your's should work just fine. I have to say, I think the rib in mold/mold in oven is overkill. No need to go to such lengths to "set" a rib. It should be set after wet bending till it's dry. If you have a concern about it moving, I would dry fit it into the actual mold, clamp it, and leave it while you do the other c-bout. Then glue it and move on. Good luck!
  2. What was "it" called and where is it? Thanks!
  3. So this is a bit out of the blue. Does anyone remember the "new" carving tool that showed up a few years ago? If I remember correctly it looked like a cylinder and was held in the hand and was advertised as being very easy to use, esp. for hollowing. Anyone?
  4. This is a very good point that I have seen myself. I like to remind myself that we make tools, and tools get used, and used tools get messed up. While I admire the skill and aesthetic beauty of totally unantiqued instruments, the often strike me as museum pieces rather then tools; lovely to look at and admire, a little nerve wracking to put in and out of a case several times a day, in different environments and chaotic situations. My approach is somewhere in the middle, in as much as I try to make a "straight" instrument every time, but incorporate my usual screw-ups into a coherent final
  5. Thanks for the advice. I will proceed. Excelsior!!!!
  6. My questions always start the same: What do you intend to do with the beast? There are a lot of things that it needs before you get to the bass bar. One thing that jumps out at me, and always pisses me off when not addressed by a previous repair person, is the divot around the sound post area. What do you plan on doing about that? In regards to instruments like this ( a violin I have neither seen nor heard,and know nothing about ) I feel that people like us spend a lot more time with, and pay much more attention to, the internal details then the original maker/makers ever did. Assum
  7. Fine Nate, make me say it. I screwed up and overshot the whole thing. I was distracted. No wait! I was waaaay into the zen of a well sharpened plane and sweet, sweet, pliant, yielding spruce. I was Bamboozeled!!!! So you, I assume, would leave it be and proceed?
  8. So, it's like an edge doubling, where most of the original wood is removed and the top sits on the ribs on the "new" wood? HUH! I'm intrigued. At what point is this done? I would imagine after the outside arch roughed, before the purfling is laid? So if you wanted to gain 2 mm, and still have the glue joint not readily apparent, and your edges were to be about 4 mm thick, you would thickness the original edge to 2 mm, add the underlay, and then proceed with the purfling. Yes?
  9. I have a viola plate that ended up at 17.85 at the highest point (the location where I want it). I would rather it was a mm or 2 higher, but I'd also rather not waste it. Any thoughts on how low a viola top could go and still be functional? I feel that that height is right on the edge of o.k. I could turn it into a violin top, but again, I'd rather not. Thanks!
  10. Now, for some reason I have a really hard time visualizing how "harlequin" occurs in spruce. I've asked this question before, but it still eludes me. If you were to flip one side of the spruce, what would have to occur to create that effect? Is it about run-out or reflectivity? Is it more likely to happen with a "flipped" top, or is it entirely dependent on the original cut of the wood? How would I have to cut a billet to create the effect? Sorry for all the questions, and thanks for the help!
  11. In my experience, not enough to cause me worry. The way I join plates usually involves changing the angle of the gluing surface slightly anyway. If the spruce grain lines are dead straight on each piece, then changing the angle shouldn't matter. If they aren't, and they cross, I have yet to be convinced it makes any difference at all. Not sure I answered your question, but......
  12. Robertdo, you change the angle of the gluing surface of the flipped piece so that it is now square with the underside. Light grey piece stays the same, flipped dark grey's angle changes.
  13. I just got a few bottles of the diamond g turps. This is the real stuff. I had a bottle of Win/Newton turp bought 3 years ago that was very clean smelling and real pleaure to use. I ran out and W/N turps have seemingly all turned to crap. This stuff is a perfect replacement, even better. Do yourself a favor and buy some today!
  14. Well stated. If Padah's listing was ended by him as a response to Mr. Reuning's request, good for him and I hope he learned something. If, however, it was ended through the heavy-handed, know-it-all manner Stephen described, words can't describe the sleazey, low-class, underhanded behavior this person is guilty of. (Although those are a start.) I hope it's the first case, as the second is no better then reaching into someone's pocket and stealing their wallet.
  15. Hey, don't look at me! I'm not interested in any of this crap! If it was worth a dime, it would have been used long ago. This is the stuff that kept getting pushed to the back of the line because it was sub-standard or flawed or otherwise unusable. Only a sucker would bid on this garbage! (You heard me, back off. )
  16. Hi all, I am planning on purchasing a lot of the items in this auction, especially the tonewood. I would like to ask the members of this forum to refrain from bidding, so that I may have them. Fair is fair, and I did ask first. Again, please don't participate in this auction. I want a lot of this stuff. Thank you in advance for your co-operation.
  17. Who's baiting who?So much for the kinder, gentler Lyndon
  18. Some of the finest, most beautiful ebony I have ever worked with was an old bass tailpiece. Mostly ebony crowns. It's all used up by now, but I still think about it. ALWAYS work with old fittings to figure out what caliber they are. One can find some real treasures, and ebony is about to get a lot harder to buy.
  19. I would always make a new bridge to replace a broken one. Go ahead and glue the old one and give it back, but make a new one. Imagine this: the player/customer staring at the re-glued bridge every time they play, wondering if this is the time ( or the concert ) that the bond fails and the bridge snaps. The feeling of security alone is worth the price of a new bridge.
  20. Just a follow up, Shipped the violin, set-up down, in wax paper with a THIN coat of mineral oil (paper towel with oil on it), overnight. Everything came out just fine. Thanks!
  21. To my eye they don't work so well. They strike me as too big and lacking a bit in grace. The positioning is fine, but the actual shape of the f holes are too open, especially towards the top half, going into the upper eye. A little top heavy. How wide are they at the most open point?
  22. My sound post knife. The curved edges makes for a more accurate cut, I find.