arglebargle

Members
  • Content Count

    1080
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by arglebargle

  1. 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 rep
  2. 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. )
  3. 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.
  4. A crazy nut I just found. I'm amazed I got it out at all. You never know what you'll find.
  5. 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.
  6. 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.
  7. Unfortunately, it goes all the way up.
  8. I just picked up a couple of Buck Bros gouges, and there is some pitting on the inside. In the past I've used a dremmel sanding drum to remove the pitted metal, slowly so not to burn it. It feels a little aggressive and I worry about damaging the steel. What do others do to get rid of this kind of damage? The first two pix are of the pitting, the third after the dremel. Any thoughts would be appreciated.
  9. Stick with willow or spruce, unless you have a specific example of different wood being used. Battenkill tonewoods usually has plenty of willow for blocks. I ordered some a few years ago and still have plenty. Good stuff.
  10. aaaaaand, bashed. (including 1/2 hour for lunch ) Only some cleaning left.
  11. Scroll laid out and pegbox ready for bashing/whacking.
  12. Ben, you'll want to use a fisherman's knot. Lots of video examples online. Good luck
  13. Nothing wrong with that. The interesting thing about Melvin's original point is that by doing the pegbox first, it changes the perspective of the rest of the process. The head of a violin as a construct around a negative space, as opposed to a sculpture waiting for a hole. When you save the pegbox for last there is always that pencil outline looking at you, waiting to be removed, as you do your best to create. If you have taken it away at the beginning, there is only creation,or maybe formation, left for you, and maybe that puts you head in a different place. Or maybe it's late and I'v
  14. So O.K. Now I am curious. I was in no way advocating bashing away like a maniac at the pegbox. At the same time, there are much more important things to do. So to get rid of all that pesky wood stuck in what should be a clean and clear pegbox, what does one do? I say leave as much meat on as possible/reasonable and get on with it, then get to the fun stuff. Now, the way that I do that is with a drill press, a few chisels, and a "hammer".(My hammer is a chunk of maple, filled with ball bearings, that fits easily into the palm of my hand.) The drill press is mostly for the depth, but also
  15. Well, there's WHACKING!!!!! and there's whacking. (There is also wanking. ) My point was by doing it first you have less to worry about damaging and less time invested, and for me, that makes what is essentially bulk wood removal much easier and quicker. I'm sure you could split the throat, but it's never happened to me. There is still time, though.
  16. Looks like what it is. And you?
  17. It strikes me as simply logical. Excavate the peg box first so you have plenty of support and can really whack away with worrying about breaking out the pegbox walls, or messing up the beautiful scroll you just spent so much time on. The scroll is basically the last thing I do on the neck. The neck itself is rough and the heel unfinished, but everything is basically an hour away from being done when I start the actual scroll.
  18. O.K. I just set a cello sound post using this for the first time. Wow. It made the whole process so much easier. Amazingly easier. Let there be light! I can SEE!!!!! If you work on instruments, esp. celli, you owe it to yourself to get one of these. (FidlleDoug, p.m. me for the address to send my endorsement fee. )
  19. In the end, a new top may have been a little easier. Now how quickly can I get it off my bench?
  20. Joe, did you mull the mica, or just add it straight. It looks very fine, (finer then pigments?). I'll keep you posted. Thanks.
  21. Hi all, I was wondering if anyone has any experience using powdered mica in varnish. Not as a component in production, but rather as a "colorant" or visual enhancer. I recently came across a jar, mixed a bit in varnish, and was intrigued with the effect. I wonder how it would translate onto the violin. Thanks!
  22. Saul Cornell lives in Altamonte Springs. I don't have any contact info, but he's been in the business for a long time and has a good reputation.
  23. Pictures would help. If it looks like what I'm picturing, I wouldn't worry about it.