arglebargle

Members
  • Content Count

    1089
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by arglebargle

  1. 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/
  2. 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
  3. 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.
  4. Great example of what I love about his scrolls. Very organic while still maintaining elegance. Yum.
  5. 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.
  6. 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!
  7. 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?
  8. Yeah. You guys are gonna get it when dad gets home.
  9. 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
  10. 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. )
  11. 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.
  12. A crazy nut I just found. I'm amazed I got it out at all. You never know what you'll find.
  13. 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.
  14. 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.
  15. Unfortunately, it goes all the way up.
  16. 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.
  17. 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.
  18. aaaaaand, bashed. (including 1/2 hour for lunch ) Only some cleaning left.
  19. Scroll laid out and pegbox ready for bashing/whacking.
  20. Ben, you'll want to use a fisherman's knot. Lots of video examples online. Good luck
  21. 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
  22. 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