• Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by arglebargle

  1. 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.
  2. Looks like what it is. And you?
  3. 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.
  4. 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. )
  5. In the end, a new top may have been a little easier. Now how quickly can I get it off my bench?
  6. Joe, did you mull the mica, or just add it straight. It looks very fine, (finer then pigments?). I'll keep you posted. Thanks.
  7. 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!
  8. 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.
  9. Pictures would help. If it looks like what I'm picturing, I wouldn't worry about it.
  10. 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
  11. This book is worth every penny. Many, many f-holes to scale from many, many makers. Maybe you can find it cheaper?
  12. 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
  13. 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
  14. 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
  15. What did you have in mind? And I'm sorry. I didn't see the posts until today. Ooops.
  16. ummm, O.K. No interest? Any thoughts? Anyone want them?
  17. 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.
  18. I have a case that holds over 12 violins from these people. A little pricey, but well made.
  19. Here, this might make up for it. You're welcome.
  20. Well, having just watched the link I provided, I realize this explanation is a muddled mess. Sorry, but you get the idea.
  21. Yep. It allows you to adjust it fairly easily by re-tieing only one of the knots.
  22. 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.