arglebargle

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Everything posted by arglebargle

  1. Yup, thats it. If memory serves, it was some sort of German something or other, if that helps.
  2. 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?
  3. 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.
  4. 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.
  5. 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. Satisfying when they do, frustrating when they do not. In my opinion, on new violins, smaller is the watchword for pegs and holes. In general, small diameter pegs will work better then thick ones. And over the life our your violins, the peg holes will only get larger. Brad, I started using this method only for bushings, but it translated well to new instruments and I'm very happy with the control I "feel" I have.
  6. 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 reamer, slowly and evenly, bigger, till I'm where I want to be. For the end button, I drill the hole on a drill press right after I remove the ribs from the mold, while the block is still nice and square. This gives me a good start with a straight hole. It's still easy to screw up, so go slow. Good luck. Gimlet follows:
  7. 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, having held quite a few Bryants. John Gould, although originally from England, made some of the more beautiful violins I've seen, and would easily hold up against violins of any region. Violin making in the Northeast at this time was easily on par with Germany and Eastern Europe, if not in quantity, certainly in quality. Go team Northeast!
  8. 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! We're making violins, not watches!"
  9. 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. http://www.albertidesign.com/
  10. 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 (no offense) violin that rears it's ugly head online. Or don't. I'm just saying, it makes one tired, and there are better ways...............blah...blah...blah...zzzzzzzzzzzzzz
  11. 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.
  12. Great example of what I love about his scrolls. Very organic while still maintaining elegance. Yum.
  13. 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. Great observations. Seraphin's scroll have always been among my favorites, particularly the back of the pegbox. Perhaps a more restrained f-hole next time. I'm not sure what you mean by "trapazoid down".
  14. 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!
  15. 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?
  16. Yeah. You guys are gonna get it when dad gets home.
  17. I'm curious how modern makers feel about seeing their instruments go up for auction. There are two lovely violas in Tarisio, by M. Darnton and W.Whedbee , a few violins (D. Cox) and a Landon cello. Is this helpful or disappointing? Would one consider bidding on your own instrument to get it off the market and retain some control over the price? They say any publicity is good, and if I think about it it seems like a nice conundrum to be, but I wonder about the loss of control over your product. I suppose once they leave the nest, it's out of your hands, but it's still your name and reputation out there. Just wondering.
  18. Dear God, people! It's just a stinking Roth! Obviously a Roth, from whatever year, in apparently good shape, being sold for a reasonable price! What is the problem? It really does seem like more of a personal vendetta against the seller then any real concern about the violin in question. Get a grip! (For what it's worth, I'll take a nice pre-WW2 Juzek over a Roth from the same era any day. )
  19. I would take it to a third party shipping store(Going Postal, etc.). We shipped a cello to Australia and a viola to Hong Kong and all we had to worry about was the actual packing of the instruments.
  20. A crazy nut I just found. I'm amazed I got it out at all. You never know what you'll find.
  21. I'm sorry, but in what possible way is this violin fraudulent? How is that not anything but a Roth? Jeez, give the guy a break already.
  22. The second for me, but it depends on your working methods. If you do the middle bouts first, which is most common, then the shaping of the upper and lower corner curves will make the joint "under" the upper and lower ribs.