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Everything posted by arglebargle

  1. My friends, Huzzah to this thread, for we have taken something small and made it large, and that is always good. Huzzah! From its humble, earnest beginnings to it's rancorous youth and into it's introspective and sometimes silly dotage have we not emerged from this thread, no! this journey, braced and fortified for the road ahead? Have we not picked ourselves up, bloody and torn, clutching the rancid, feculent entrails of our fallen brothers and cried to the bland and inebriate gods above "I exist! And I glue nuts!" Surely we have, and I would challenge any man, woman, or child, (n
  2. Just to make sure this horse is well and truly dead, and for reference, this is what I consider more than enough glue.
  3. Not if I get a violin to sell with your bridge on it and have to make a new one. Then it is an inconvenience to me, and not very professional. Again, if you do it right, the nut is "unfazed", un-noticed, and fully functional. But in my experience, an unconventional bridge is always noticed by the player and more often then not has to be "fixed". And not to argue with Mr. Holmes, but some of the most stubborn nuts I've encountered have clearly been glued with hide glue, and much too much of it.
  4. Of course. The kerfuffle was not just about method, it was about you accusing people who use a different method of being "hacks" and amateurs and, by inference, liars. There are many ways to skin a nut. You (or me) are not necessarily correct. I recall some criticism about your method of cutting a bridge. You seemed at that time to support the idea that there is not only one way to do things and that your "heart" shaped bridges are fine. More power to you. There is a way to respectfully disagree without resorting to name calling.
  5. Therein lies the rub. A small amount of glue, of what ever kind, will work just fine for the task at hand. I would much rather remove a nut applied with the appropriate amount of titebond then one slathered top to bottom with hide glue. And if the fit of the nut to the fingerboard is dead on (most important), then any glue should be adequate. I assure you, my nuts are very easy to get off, and leave almost no mess to clean up.
  6. Absolutely, please see posts number 6,9,14,17,20,25,27,and 31.
  7. (psst, lyndon.) Two well respected violin makers I studied with in Cremona had me use....................(wait for it) wood glue to glue the ribs to the blocks!!!!!!!!!!! SHOCKED I TELL YOU! SHOCKED!!!!
  8. Yup, thats it. If memory serves, it was some sort of German something or other, if that helps.
  9. Not only did he say it, I stood there and watched him do it! And calling one of the most respected restorers in this business, a person who shared a bench with Sacconi, a hack because you don't agree with a particular method makes you... Well Lyndon, you've shown yourself to be what you are time and time again. Why bother?
  10. Lyndon, I use two tiny dots of titebond wood glue on the nut as well, so I am a hack, but a hack in good company. I do this because it is quick and easy and harmless. And because Hans Nebel told me to. Does that make Hans Nebel a hack? Please Lyndon, do not listen to hacks such as us.
  11. I've seen that before. Tis a bird on a musical staff with the letters S A G above it. I actually posted a picture here a few years ago, it was a much clearer brand on my violin. No one knew then what it meant. Sigfried Geipel? I'll see if I can find the picture of mine.
  12. Don't. Violin reamers work great by hand, not so much spinning in a drill press. If you are going to use this method just drill a hole small enough to just allow the reamer to start, finish the violin, and then ream. Doing it by hand goes fast enough. Tip: If you are using a squared neck block and a drill press to start your holes, it helps to drill one side to just below the center line, then flip it and drill the other hole to the same depth, rather then all the way through in one go. If you have a truly square block and laid out everything correctly, the two holes should meet. Satisfyin
  13. On new instruments I don't add the holes till the varnish is totally done. I find it is easier to apply. After laying out the peg positions on the bass side only, I drill all the holes (small) with a hand held gimlet. After breaking through the bass wall, I carefully position the gimlet so all planes are correct (takes practice and eye-training), and strike the treble wall with the tip of the gimlet, then proceed to drill through, stopping just short of the outside wall, and finishing it off from the outside. (I stop so just the pin prick tip of the gimlet is exposed.) Then the smallest
  14. Lyndon, I'm not trying to pick a fight with you, but by your own admission you have not had your hands on many American violins, particularly Boston school violins. In the Northeast, where I am, we see MANY Boston school violins (and New Hampshire, Maine, Vermont, Mass. in general). They range from obviously rustic/folk to nearly perfect in every way. There were many violin makers from this area that were very skilled and more than capable of making a pristine, beautiful violin without having to import them from Germany. O.H. Bryant was one such maker. This violin looks spot on to me, ha
  15. The best thing to do is just jump in and get the tools you need as you go. That model is as good a place to start as any. Making a nice mold, attaching and shaping the blocks, and prepping the ribs ought to occupy your time for awhile. Just get a reasonable bending iron to start. I've always thought that over thinking your first violin is a little counter-productive. You are learning new skills, training your eye, developing muscle memory etc. and the only way to do that is by actually working. One of my teachers was fond of saying, as I sat and fussed over this or that, "Let's go!
  16. I have no affiliation with this company, but I use the products every day. The c-clamps are fantastic and worth every penny. Very well made, and a pleasure to use. All the other products are equally useful. Just thought some people would want to know.
  17. People, you've got to let this shit go! At least 3 threads focused on an ebay seller with reasonable violins. Are they EXACTLY what the seller claims to be? Who cares?! Caveat Emptor anyone? The making and buying and selling of violin family instruments is a blood sport. If you wade in half-cocked, you will probably get f***ed. Live and learn. Are you guys going to police ALL THE VIOLINS ON EBAY? I hope not. Let Jeffery eat his dinner, don't buy the violins you don't like, buy the ones you do, but please put your big boy pants on and stop pissing and moaning about every mediocre
  18. The purfling is pearwood. Yeah, I've always been a bit overly cautious with my throats. Seraphin clearly did not have that problem. I'll have at it some more, perhaps a fortifying jolt of scotch will get the courage up. Thanks.
  19. Great example of what I love about his scrolls. Very organic while still maintaining elegance. Yum.
  20. Thanks Andrew. The outline is from the 1740 Seraphin portfolio published by Cremonabooks. It's not my favorite example, but the format of the portfolio makes for an easy template/mold. I used other examples from various sources, books, etc. to fill out the rest of the info. I was able to look at the examples from the AFVBM archive, and those two examples are among the best around, in my opinion. I was a little concerned that the f-holes might be a little too far afield from standard models, but that's the way he made them, so there you go. Thanks for looking. Just saw you next post.
  21. So, I've been working on a Santo Seraphin model and I finally got one that I am pretty happy with. I would love to have some new eyes on it and get some feedback as to the accuracy, and an overall impression with the look of the model. Does it strike you as recognizable as Seraphin? Why and why not? Thanks guys!
  22. That's what I thought. Another question regarding an instrument at auction is how far does a makers warranty go? Would workmanship guarantees extend to the owner of a violin bought through auction rather then a secondary sale or through a shop? Without actually holding the instrument, one can't be sure of the condition at the time of sale. Who knows what your poor little violin has been through?
  23. Yeah. You guys are gonna get it when dad gets home.