arglebargle

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Everything posted by arglebargle

  1. That gets to the crux of the biscuit. If we are outpacing, in terms of growth, the ultimate end user of our output, what is the necessity of the infrastructure (apprenticeships, schools) to create more and more of us? In the spirit of full disclosure, I find myself in a comfortable position as a restorer/ maker in what I consider a very respectable "smallish" shop. It is not the "violin maker fantasy" that we all kind of have, but I am daily thankful that I can put food on the table doing what I do, and can take pride in my work. I knew early on that this was not a cash cow kind of busines
  2. So A forum full of violin makers seems to be about the best place to ask: are there too many of us? With at least three major schools in the USA alone, and numerous smaller (and just as intensive and competent) teaching endeavors scattered here and there, it seems that we ( humans) are producing more and more violin makers, and subsequently more and more violins, every day. Coupled with what I think is a beautiful resurgence of appreciation for instrument making, there are more people then ever engaged in this trade, professional, newly trained, and amatuer alike. And the products, the
  3. "...at times manifesting itself as chest pains." Nothing fishy about that. Lawyers. Is there nothing they can't do?
  4. Aww,go ahead and cut it off. The sooner you get that little right of passage over with the sooner you can get on with the rest. A mistake like that really focuses the mind.
  5. Of course I looked at your link, and you are 100% correct. It is a 4. No doubt about it. A 4 from dawn to dusk. Only a fool, a blind fool, could mistake that 4 for a 9. Again, Lyndon, you are correct. It is a 4. Thank you for clearing my clouded judgement and for bringing this dastardly man to justice.
  6. Because that number is quite clearly a 9. Anyone without some kind of petty ax to grind could see that it is a 9 and not................. oh. It's Lyndon. You are right, Lyndon. It's a 4. Good detective work there, Mr. L!
  7. It depends. What are your intentions for the beast? Do you want to play it? Do you want to re-sell it right away? Do you want to "snazz it up" and then re-sell it? Personally, putting aside for the moment the unmentioned sound post crack on the top, I think these things are more trouble then they are worth, and a dime a dozen to boot.
  8. True, there is nothing quite as sweet as the sound of an unglued A hole on a fresh spring morning.
  9. Imagine if the question was "what's the best way to ream and fill your A hole"?
  10. 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
  11. Just to make sure this horse is well and truly dead, and for reference, this is what I consider more than enough glue.
  12. 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.
  13. 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.
  14. 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.
  15. Absolutely, please see posts number 6,9,14,17,20,25,27,and 31.
  16. (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!!!!
  17. Yup, thats it. If memory serves, it was some sort of German something or other, if that helps.
  18. 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?
  19. 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.
  20. 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.
  21. 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
  22. 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
  23. 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
  24. 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!