arglebargle

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Everything posted by arglebargle

  1. I'm not sure what the production process is. Any information they had is no longer on the website. It is thick like honey, smells fresh and piney, dissolved easily in spirit and turps.
  2. Hi all, Kremer pigments no longer carries the Strasbourg turpentine dark balsam. Does anyone here know of another supplier? Or a good substitute? Thanks!
  3. I'm getting rid of some old peg shapers. I haven't used them in quite some time. $200 for all 5, shipping included in the USA, pay pal preferred. Message me with any questions.
  4. Jesus, you are an ass. I hope you finally get some help, because there is clearly something wrong with you.
  5. Now that seems like a "waste of time."
  6. I bought one as well. Very happy. Please see thread here.
  7. I was there 1996-97. Dai-Ting Chung (of the Chimei collection) had just graduated when I arrived.
  8. I am really glad to hear someone else voice this. I am not a particularly "otherworldly" person, and some of my most happy and contented years were spent in an old Georgia farm/whore house from the early 1800. But as I live and breath, I have never been more unsettled and downright scared than when I was at the Chimneys house. Once when Ed and Mary went out of town I was granted the honor of staying at the house over night to keep an eye on things. No fucking way. I lasted until 9 or 10, then rode my bike back to my apt in Boiling Springs. Wracked with guilt, I rode my bike back at 4 in the mo
  9. Here are a couple of interesting inscriptions I just found again. From the inside of a John Gould violin, one of my favorite instruments ever. A beautifully executed piece of work. Flawless. Very sweet. Interesting that he lived in Maine. Probably a Summer home. Damn Massholes grabbing up the land even back then.
  10. Guy Booth, Talk is cheap. In the end you either have an instrument that is both visually and aurally pleasing to the point that someone will pay you the money you ask, or you don't. Let's see yours. As David Sora implied, you can put any piece of thrown together crap on top of a peg box, but try selling it to a young musician about to spend real money for the first time on the tool of his or her trade. In the mean time, there seems to be an endless supply of Jay Haide violins out there that retail for around 2k. Beat that. It strikes me that you don't spend enough time around the musicia
  11. This was many, many years ago. A lot of pictures were taken, but I have no clue where they are. This was at a different shop, with a different hard drive. I miss paper pictures. All the Asa White violins I have seen (I've seen a lot over the years) were quite good. Not sublime works of art, but competent and well executed. They remind me of the better Markneukirchen violins. Indeed, some say that is just what they were. They can sound very good with a bit of fussing over.
  12. "Ladies and gentlemen, let me show you my ground!" Well, what is it?
  13. This might be the most interesting thing I've read on this forum. Any further details you wish to share would be most welcome. Seriously.
  14. My first year at The Chimney's (1996) four of us arranged a visit to the LoC. We showed up, were led into the instrument room by a very nice (if disinterested) man, shown where everything was, and then left alone. We stood there for a second, not quite knowing what to do. Then we had at it! For well over an hour we were left by ourselves. I played the Castlebarco cello, we took measurements, we took pictures, we picked up and handled everything, one of my friends played Turkey in the Straw on the Betts. At no point did anyone so much as pop their head in to see what we were doing. I feel
  15. I don't think they do, and as I said I wouldn't mess with them. It was just an example of interior work that popped into my head.
  16. For me it comes down to art vs tool. Is the violin in question an object of art to be preserved and admired or is it a tool for musicians to use? For all but a few instruments on either end of the spectrum it is some combination of the two. Although on the bottom end I might substitute "trash" for "tool". It also depends on what you consider to be an artist's expression. While there is an "art" too fitting pegs, a well fit set of pegs is not art. The same could be said for graduations and bass bars and fingerboards. In Nathan's example of the terrible sounding American violin, if it is no
  17. Thanks guys. That's what I wanted to hear. I appreciate it.
  18. Hi All, I have a client that just moved to Anchorage and needs some work on a cello that had a little bit of a rough trip. A google search turned up John Osnes and Petr's violin shop, but I have no idea if they are any good. Any feedback or other suggestions would be appreciated. Thank you!
  19. This has also been my feeling. Pristine varnished instruments are for the makers, roughed up varnished instruments are for the players. Another way of looking at it might be pristine varnished violins are art objects, antiqued violins are tools. And of course there are shades in between. When I hand a player a clean varnished instrument all I can think is that it will inevitably get scratched and please be careful with it. With an antiqued one I think "have fun and play the hell out of it!"
  20. Any leads on good, well-aged, cello fingerboards? Seems like they are getting harder and harder to find. Thanks!
  21. Where are you located? You could get in touch with a "local" violin making school and let them know that you are closing shop. I know that when I was a student I would have thought nothing of getting in a car with my friends and driving hours to access good tools, wood, etc. It would certainly be easier to have them come to you. Good luck!
  22. I have found THIS to be very useful. It's not the magnification you are looking for, but I thought I'd mention it. I can use them for long stretches of time without strain or discomfort. Are you looking for inspection magnification or working magnification?