• Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by arglebargle

  1. What's a "store"? I buy everything with my computer.
  2. The income for a violin maker is essentially what they can get for their violins and how many they can sell. The best asset a new violin maker can have is a wealthy spouse, or a nice pension. The income of a shop employee varies a great deal ,depending on experience, the location of the shop, the level of instruments, etc. My feeling is that any job in any shop is a good start for one that wants to make a living in this field. Violin makers often have to scale back their production for many years as they build their reputation and put food in their belly. I think that the median income would be very hard to accurately determine, as the field is so wide, with violin makers making nothing from their instruments to the high rollers you see buying drinks and dinner at the VSA conventions. On a related point, I wonder about the saturation of violin makers looking for work in the Chicago/Boston/ S.L.C. areas. Do people that live there find that there are just too damn many makers about?
  3. Hmmm. I like this notion. The idea that the c bouts were let in to stiffen the body never really rang true to me. I've seen alot of mortises that have not fit at all, or at least enough to stiffen anything, but would certainly aid in preventing the lining from springing away from the rib.
  4. I have tried many methods for clamping an f-hole wing crack. I have a clamp that I a pretty pleased with, but not completely. Any one care to share some methods/clamps/techniques for clamping these cracks? I seem to recall an article in the Strad (?) about an English tool maker, and he had designed a very elegant clamp. Don't know who or when. I would love to see it again. Thanks!
  5. I believe this is an authentic story. Paypal actually states in it's customer service agreement that counterfeit items will not be returned and will be destroyed. What a brilliant policy!
  6. Thanks! Caution has been noted, and Timberwood has been called.
  7. Hi all, I was wondering if anyone knew of a domestic (U.S.) source for the cremona books portfolios. I've gone to their website, and the shipping is over twice as much as the price of the product itself. Any other leads? I'm specifically interested in the Santo Serafino 1740 portfolio. Thanks!
  8. Thanks! That is good info. I haven't had time to really soak it in, but at first blush it makes sense.
  9. I have seen a few violins with this effect, and it is generally on lower end instruments and not at all attractive,IMO. The effect I'm calling harlequin is when a top is viewed straight on one side appears dark and the other light. As you angle the top the sides reverse (dark to light, light to dark). In extreme cases it can be quite jarring. This maybe a simple question, but I was wondering what caused this. I thought it was from poorly cut wood, or flipping one of the side of the spruce before joining. I do see some of this on regular spruce, but no where near as pronounced as on these tops. Thanks!
  10. AND I ordered the bits yesterday and just received them in the mail today! Regular shipping. So that's good.
  11. A perfect fit is best. I use a disposable emory board cut to fit the channel to open it up as needed. This is the tool I made for the job. Like I said, It's the first time I've done it this way, so I expect some modifications will be necessary. We will see.
  12. Yes. I went through my purfling stash and got three bits that matched the majority of what I use. The bit are 0.1mm smaller then the purfling. I figure that after I mill the channel and prep the purfling the fit should be just right. Better too tight then too loose.
  13. I went with Kodiak Cutting Tools. The price seemed very good, and they had a huge selection of sizes. I got two each of 1.0mm, 1.2mm, and 1.3mm. But there were many sizes in between those. This is my first time not hand cutting my channel, so I'll let you know how it goes.
  14. That should do it! Thanks, Oded.
  15. Hello all, Does anyone have a good source for up-spiral purfling bits for milling the channel? I've reached the end of the internet, and still no luck. (btw, the end of the internet is a sad and lonely place. ) Thanks!
  16. Jacob, just how is it that you know me (a total stranger) to be an arrogant bungler? And when have I claimed to have "definitive wisdom"? And why does it always come to name calling? What is wrong with dissention and difference. Can we not articulate our thoughts and opinions without resorting to throwing around unfounded accusations at strangers on the other side of the world? I wonder.
  17. Lyndon, based on past experiences with you, I know for certain that I am not going to change your mind. But... I find your analogy very weak, and I fundementally disagree with the notion that "alot of these older violins are national treasures" and maybe "need another 200 years to open up." A national treasure is a national treasure and can be easily identified as one. A pre-WW2 high end Juzek is a nice violin, but not a national treasure, just to pick the first name that comes to mind. And another 200 years to open up? Really? I love violin family instruments and instruments in general and I feel blessed everyday to be able to work with them. My philosophy and work ethic regarding them is mine alone, and arrived at through no small amount of thought, learning, mistakes and successes, and I am very comfortable with my integrity. As much as I love the work, I believe that we are, on the most basic level, tool makers. Beautiful tools, but tools all the same. Some deserve to be kept from being used to preserve their historical authenticity, but the VAST majority of them would be better served by being lovingly and carefully put into top working order for a musician to use. As I said before, preservation of violins as artifacts versus preservation of violins as working musical instruments that allow another artist (the musician) to best express themselves. I don't expect you to agree, Lyndon, or even understand, but that is the way I see it. In the end, I hope to have put more violins in the hands of happy, satisfied musicians then on the shelves and walls of shops and museums. I would think that that could be called a success. Good luck.
  18. Lyndon, I asked the question making certain assumtions. One of them being that the person undertaking the operation is very competent and knows what is what concerning the origins and value of the violin in question. Obviously a rank beginner or a fool could do all manner of damage. The original question was about the morality of altering violins, not the competency of the luthier. I don't think that any violins should be worked on by ham-handed hacks. If you are the owner of a violin, trying to sell it, then your job is to make that violin as attractive to a player as you possibly can (short of fraud). It seems sometimes that a lot of people in this field are more interested in the preservation of violins as artifacts, and not the preservation of violins as working tools for musicians. I think it goes without saying that the highest level of violins should be treated differently and given different considerations then mid-level or trade fiddles. I am not advocating one position over the other (though I do have an opinion) but just asking some questions to provoke some thought. Robertdo, it should be if you bought it from a good violin dealer, not necessarily if you are a violin dealer buying it for your shop and ultimately a customer.
  19. Keeping in mind that violins are essentially tools for musicians to use, I have another question: If you have an older, authentic violin in the 5-10k range (pick your maker/brand) that has sat in your shop for years, and every player that tries it doesn't like the sound, the playability being fine, and the thicknesses of the top are excessive and the bass barre "funky" etc., is it o.k. to re-graduate/alter the interior and original work in an effort to make the instrument desirable to a player AND get some of your original investment back? (Sorry for the run on question ) Wouldn't the dead maker rather his creation be played the just sit around gathering dust? (This is assuming that you feel confident in your ability to improve.) I tend to think some attach too much sentimentality to the original makers efforts and the sanctity of the untouched, unplayed violin.
  20. Don't forget this one. I went to check it out years ago and was very impressed. Circumstances did not allow me to attended, but I really liked the feel, the course structure, and the class size. Good performance and serious effort is expected from the students, and it's in the middle of no where, so it's hard to escape!
  21. DBurns, I'll try to get some up, but a very detailed description can be found in the magazine. It's worth picking up.
  22. I just made the cello cradle illustrated by Guy Rabut in the Sept. 2011. issue of The Strad. Color me impressed! Very simple, easy to make, and very effective. I haven't tried it with real pressure, i.e. arching a back, but with a few tweeks I think it should work just fine. I have a violin/viola cradle that I have used for years, but I plan on making a couple of these anyway. Good stuff. Thanks Guy!
  23. I would recomend making the scroll/pegbox out of the same wood as the back, but graft it onto a maple neck. It's a pretty look and your players will appreciate it.