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Everything posted by arglebargle

  1. Thanks! That is good info. I haven't had time to really soak it in, but at first blush it makes sense.
  2. 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 the
  3. AND I ordered the bits yesterday and just received them in the mail today! Regular shipping. So that's good.
  4. 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.
  5. 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.
  6. 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.
  7. That should do it! Thanks, Oded.
  8. 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!
  9. 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.
  10. 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
  11. 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 (
  12. 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
  13. 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!
  14. DBurns, I'll try to get some up, but a very detailed description can be found in the magazine. It's worth picking up.
  15. 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!
  16. 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.
  17. I'll second that. As soon as I see his name, I know nothing good will come of it. It's very frustrating. For someone professing a deep interest in Buddhism, Lyndon seem to have a stunning lack of self-awareness. Sad, really.
  18. My first impression is that the shop owenr was right. It looks like an American to me. The edgework and the corner channeling, for one. And the back looks like American maple all the way, specific to the Northeast. Good luck, it's a nice violin.
  19. Thanks Jeffery. Duly noted.
  20. Thanks for the info. I typically leave the back of a violin bridge flat, remove a tiny bit from the back on a viola, and about 20% off the back of a cello bridge. I'll try "chesting" the back of a violin bridge next few I make. I've gone through some old violin bridges from various maker I've collected, and it seems to be about 50/50 flat backs vs rounded. Here are a few pictures of one of my recent bridges. Comments are welcome. Thanks!
  21. Thanks guys! Jeffery, how much wood do you take off the back, percentage wise? How much of a responsibility does the player have for maintaining the proper bridge position? Do you explain to every customer how to adjust the bridge?
  22. Hi all. I'm curious as to what methods or precautions others use to prevent or alleviate bridge warping, particularly in cello bridges. There seems to be no rhyme or reason to it. I have made cello bridges that are still standing tall years later, and others, cut the same way, that are warping after a relatively short period of time. There is one violin in particular that always seems to have a warping bridge, no matter how many times I replace it. Other violins have the same bridge years on. Are there setup/ construction issues that make an instrument more prone to warping bridges
  23. [/quote) argle i think youre dreaming if you think i crave attention and recognition, im just so used to being completely ignored that i "talk" really loud so people will at least get to hear my two cents worth, im a very small time shop and refuse to consider myself remotely qualified to be working on really expensive violins, like some of the top makers/restorers on this sight, in my part time apprenticeships i worked for three not so top makers, though there all in wenberg, after 10 yrs in the buis, when i finally decided to actually learn to make a violin, i studied with ruth evans, w
  24. Hey Lyndon, here's an idea: Instead of whinning about ebay auctions and how unfair and unjust it is that P Hound gets any business and you don't and on and on and on and on, why don't you SHOW us some examples of the fine and accurate violins YOU have for sale, or have sold? I assume, you being the expert you are, that you have a photo record of every violin that has passed through your hands. That would go along way towards establishing the credit and recognition you so desperately want and feel you deserve. Rather then piss all over everyone elses merchandise, and call into ques
  25. *sigh* A professor, no. Lyndon, I think you are a self-important blowhard. You started this thread trying to discredit a label in a violin on ebay, and when everyone didn't fall in line with your opinion, out came the claws. You went on to disparage the seller and the restorer and anyone else who disagreed with you, and did so in a rude, vulgar, and childish way. You are not a professor of any sort, and I feel NO obligation to prove anything to you, much less be "educated" by you. You are not some wise, all knowing sage of the violin world, you are a bully as far as I can see.