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Everything posted by arglebargle

  1. Let's piss off some folks! The only way to attain a respectable level of expertise concerning violin identification and appraisal is by seeing, holding, studying, smelling, licking absorbing in every possible way thousands of instruments over many, many years. The only way. Four years, as in a college course, would not cut it. To be able to be handed a violin out of the blue and identify it's country of origin, time of construction, and ultimately specific maker requires a level of commitment and study that is not possible through a few years, or without access to a steady stream of
  2. This book is worth every penny. Many, many f-holes to scale from many, many makers. Maybe you can find it cheaper?
  3. Just thought I'd throw this out. When I was a "kid" I applied varnish in what I thought was the typical manner. Back first, then top, then ribs, then scroll. I was soon shown to have the whole thing bass-ackwards. "No little argle, you start with the ribs, then scroll, then front, then back!" I've been doing it in that order ever since. The main advantage is that as you are flipping the violin all around to get at the ribs and scroll, you are not swatting at the dust particles, etc. with a big, wet, sticky top and back. I like saving the back for last because it gives the front
  4. I know they are not the most popular gouges, and I have since moved on to bigger and better things, BUT, when I first started making I found that "swiss made" gouges were more then sufficient. Not the best steel, but they are (relatively) inexpensive and easy to get. (And you'll get a lot of practice sharpening. ) I made my first several violins using only 6 gouges, for everything. #3/8, #5/3, #5/20, #7/10, #8/7 and #7/20 bent. It's nice to have a lot of tools, but more important is just jumping in and making an instrument. And yes, you really should buy the book mentioned above. You
  5. I've heard from a very reliable source that the I.U.C.N. is planning on adding ebony to the "red list" of threatened species. Recall that they recently did this to pernambuco. The response was the founding of the I.PC.I. (international pernambuco cons. initiative) with the goal of "saving" pernambuco and "saving" bows from confiscation and allow bowmakers to keep their wood stock. Let's hope that the I.U.C.N. will be as receptive to the conservation and use of ebony in instrument making. Spruce doesn't worry me, but I can easily imagine the best species of violin maple being targeted s
  6. What did you have in mind? And I'm sorry. I didn't see the posts until today. Ooops.
  7. ummm, O.K. No interest? Any thoughts? Anyone want them?
  8. Hello all, I'm getting rid of some tools I simply do not need. I'm going to sell them as a single lot. Here's what you get: W.I.Korn 3mm gouge Addis 12 mm #9 bent gouge Addis 23mm skew chisel Addis 18mm skew chisel Buck Bros. 16mm #8 gouge Addis 22mm #3 gouge Addis 20mm #5 gouge 4 Addis v parting gouges Addis 7mm #9 bent gouge Addis 5mm #8 gouge Addis 7mm #9 spoon gouge E.Broad and Sons 19mm chisel anon. 16mm. #5 in-bevel gouge anon. 4mm #3 gouge 2 anon. fishtail gouges 2 misc. tools So, all sweeps are approximate. They all have a lot of life left in them.
  9. I have a case that holds over 12 violins from these people. A little pricey, but well made.
  10. Here, this might make up for it. You're welcome.
  11. Well, having just watched the link I provided, I realize this explanation is a muddled mess. Sorry, but you get the idea.
  12. Yep. It allows you to adjust it fairly easily by re-tieing only one of the knots.
  13. Not with the steel, but I've recently started using kevlar cord on all my wooden tailpieces. You can get it on Amazon (used for spearfishing) for not a lot of money. I find it gives just a little clearer sound, and I like the fact that it stays right where you put it.
  14. It looks like mold/fungus to me. I would just go ahead and use it. With some planning you should be able to place the effected spots in less noticable areas, like the upper curve in the c-bouts or the lower bouts under the chinrest. Shouldn't be too noticable after it's varnished. Good luck.
  15. Bob Crosby at Battenkill Tonewoods usually has plenty of willow.
  16. Good point. I can see that the engineering aspect would be prohibitive, especially for such a small, inexpensive part. How many would you have to break before you gave up? Please let us know what Mr. Clemente says about it. Thanks.
  17. A question: On corduroy violins, is the same effect seen on the inside? For those that have seen inside the big boys, is there any indication of this? I've always assumed that the inside is finished differently the the out. I tend to sand the inside after scrapping to get a nice, smooth, rounded look towards the gluing platform. If the corduroy effect is from shrinkage after the instrument is finished, wouldn't one expect to see much more inside, where the wood is more exposed/unvarished?
  18. Hello everyone, First, let me say thank you for all the help people have given towards finding materials and parts etc. It is very much appreciated. And now, Does anyone know of a source for two-piece, removable end buttons, other then having them custom made? I've come across a handful over the years, but I would like to have a ready supply. Secondly, is there a reason these guys have fallen out of favor? The potential buzz is the only thing that comes to mind, and I've never heard that on violins that have these. The ability to look inside an instrument while fully set-up seem
  19. You could use an oil absorbing powder/clay such as bentonite or kaolin. Just dust it on and rub it off a few times.
  20. Now THAT I'd love to see! Strad's secret perhaps? Nice work, though.
  21. Having thrown away my last (of many) Steelman bend-a-lights, I'm looking for a better replacement. What are other people using? I have a nice goose-neck inspection light, but I cannot, for the life of me, find it on the internet, and I need two. Any hints,suggestions, or alternatives would be appreciated. I'll see you in hell Steelman bend-a-light!!!! Thanks!
  22. So, aside from the big boys, what models by more obscure (or at least not as well known) makers have people used with any degree of success? The world is littered with Strad and D.G. copies or spin-offs. What else are we littering the world with? I've used an Ornati model with good results (although it is a little closer to Strad then not) and a funky little Carcassi model that caught my fancy years ago. I'm working up a S. Serafin model, and I am finding it quite a challenge. I've always loved his work, and trying to faithfully interpret it only reinforces my admiration. Just curious