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Everything posted by arglebargle

  1. What did you have in mind? And I'm sorry. I didn't see the posts until today. Ooops.
  2. ummm, O.K. No interest? Any thoughts? Anyone want them?
  3. 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. Picture follows. 400 USD. for the lot. P.M. me with questions and for details. Thanks!
  4. I have a case that holds over 12 violins from these people. A little pricey, but well made.
  5. Here, this might make up for it. You're welcome.
  6. Well, having just watched the link I provided, I realize this explanation is a muddled mess. Sorry, but you get the idea.
  7. Yep. It allows you to adjust it fairly easily by re-tieing only one of the knots.
  8. 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.
  9. 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.
  10. Bob Crosby at Battenkill Tonewoods usually has plenty of willow.
  11. 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.
  12. 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?
  13. 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 seems to me to be a pretty big benefit. Picture follows. Thanks again.
  14. You could use an oil absorbing powder/clay such as bentonite or kaolin. Just dust it on and rub it off a few times.
  15. Now THAT I'd love to see! Strad's secret perhaps? Nice work, though.
  16. 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!
  17. 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. Thanks.
  18. Sorry. That would be the Australian style of Perth.
  19. Hi all, I am shipping a cello to Perth, and want to send it with the set up down. Can anyone recommend a good luthier that would be able to set it back up after it arrives? Thanks.
  20. Could you expand on/explain your process for making a teflon mandrel? Thanks!
  21. Great answers! It seems that the hourly fee is often used as a guideline, and most jobs tend to be a known quantity, so the price can be set. However, there are some repairs that are priced well over the actual time it takes. I figure that this is because one has to factor in the time and experience that one has put in in order to be able to perform the job professionally. For example: A violin with a bass bar crack, or replacing a bass bar (for whatever reason). This is a job that would have easily taken me many hours in the past, but that I can now complete in an hour or two. If I were to charge by the hour, the fee would be far below what this kind of job (I feel) would merit. If I charge 500$ (random price) for a new bass bar, but it only takes me one hour, is this fair, considering all the years it has taken me to be able to do it in an hour?
  22. I was curious how the fine folks here generally charge for their repair/restoration work. We have a set hourly charge, but it seems that it is rarely applied, and the charge tends to be for the job. For example, there is a flat fee for removing a violin top, wether it takes 5 minutes or an hour. (You should see what we charge to put it back on! ) I suppose that we actually do a combination of the two in some form. Do others run a strictly by the hour fee structure or a strictly by the job fee structure? Just curious. Thanks.
  23. Oh Boy! Professor Lyndon is back in class! Everybody sit down, shut up, and let the learning begin.