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Everything posted by arglebargle

  1. Perhaps I am. And I mean that sincerly. However, I also do not fuss around much with tap tones and eigenmodes. I do not do my arching from the inside out. I use willow for my blocks and linings. I don't seal the inside of my instruments. Indeed, there are many, many stools that I may be on the verge of falling off of. I make instruments through an amalgam of all the techniques all the teachers/makers I have worked for or with or under. Not one of them ever weighed any part of the instrument while I was there, or asked me to weigh any part. Maybe I just missed out? One admonition that stays with me to this day, as I was taking my time with a particular job, "Come on, just get it done, we're not making watches here." Pehaps my instruments suffer because of the methods I do and do not use. Time will tell. If you find success with how you work, more power to you. Now excuse me while I go find a scale.
  2. Thickness, thickness, thickness. I've never wieghed my plates or the finished violin. Maybe I'm missing something, and maybe I'll start. But maybe not. The arching and the graduations are what matter, IMO. As with people, the weight of a violin is not a good measure of character.
  3. I've used alot of different materials as a bending strap. The one I keep coming back to is lead flashing. You can find it with a little searching. Very flexable and it offers alot of support. And, to say it yet again, don't soak your ribs.
  4. Is it just me, or are others assaulted by pornography when viewing certain posts? i.e. "Thoughts on a fiddle." There have been other posts as well. Anything to be done?
  5. No, not too creative at all. Very nice work, without a doubt. It speaks to a very different aesthetic then "regular" violins, though. The traditional look of the violin has a certain something that is universally appealing. It resonates with most people in a very elemental way. To paint with a very broad brush here, I think alot of people got involved with violin making through a strong attraction to the traditional look/sound of the violin family. Not so much "Gosh, look at that beautiful instrument. I'd like to make one that looks nothing like that." My 2 cents.
  6. Creativity is the first excuse of the unskilled.
  7. I'll go for the U.S.A. Northeastern, New Hampshire, Boston, that area.
  8. Well, that's a fine question. I give Del Gesu a pass because he is considered on of the standard setters in violin making. In my opinion, one can clearly see the downward trajectory from his early to latter work. Was this a deliberate aesthetic choice or the result of lifestyle/drink/poverty/etc.? I think the latter. However, the stellar regard in which he is held today allows for the vagaries of his workmanship, and his reputation doesn't seem to suffer. Imagine if you will a world with no Del Gesu, but all the rest. Now imagine a makers creates an exact copy of the Ole Bull. What would the reaction be? I think not so good. But who knows? As one of the earlier makers, it was easy to say the hell with it. He was not saddled, as we are, with well over 300 years of violin making history/study/naval-gazing.
  9. I think one must be very careful of "individuality" that is a result of poor workmanship or skills that are not quite up to snuff. The individual elements of the violins that are most appealing are deliberate, well thought out and well excecuted. My first violins had very long, "individual" corners. Not because they were beautiful (they were not), but because my eye/hand skills were not good enough. That being said, I found the best way to nurture individuality is to try very hard to stay true to the original look/intent of the model you are making. The better you can emulate, the better you can alter.
  10. Hooray!!!! The answer! Now arglebargle is the popular one. Thanks!
  11. Any advice on where to find a good branding iron for your bridges? You know, so future generations can either mock or admire my skills. Thanks!
  12. Well, they ARE based out of Alabama.
  13. Howard Core Co. Always prompt. Always correct. And very polite, Southern style. I've had nothing but positive experiences. For what it's worth.
  14. Yeah yeah yeah. Or did I do it on purpose? Probably not.
  15. Third paragraph, a bit of a run-on sentence. under "repair"--- threat, not treath under #3---technical, not thecnical. other then that, looks good. And much better then my Norwegian website wold be.
  16. Lance, could we get some close-ups? Very nice.
  17. These violins have it all Erogonomic, even and superpowerful. Can even play in the rain. Click here: Luis and Clark - Custom Made Carbon Fiber Instruments -- Composite Material Musical Instruments: priya, I've always been curious about the statement that always seems to follow any mention of these instruments. You can play them in the rain! It seems to be a big selling point. The acoustical merits of these things aside, unless the bridge is composite, the bow is composite, the hair is artificial, the rosin waterproof, the strings waterproof, and the soundpost carbon fibre, then the thing, as a playable violin, is not waterproof! No big deal. It just sort of bugs me when I hear that listed as one of the positives of carbon fibre instruments. And get the hell out of the rain!
  18. I've got one word for you, M_A_T_T. Disco ball motor. Or you could learn to control the sun with your mind.
  19. Or you could look at them here. Under violin photos. If that's your thing.
  20. Nawlinsgirl, you are asking some pretty involved questions. If there was an answer, the game would be over. The fact that people are still making violins with the "same" wood and with the same processes as they were hundreds of years ago says alot. The fact that they are still screwing it up says as much. We can all tell you how to make a violin. If we could tell you how to make the ideal violin, then this field would be as interresting as mud, which anyone can make. Do not stop, or even hesitate in your project. Violin making is endlessly fascinating and endlessly frustrating. But please keep in mind, there are no quick and easy answers. But don't stop asking. But if you must know, the best wood has been buried in the grave of a failed castrato for no less then 38 months, and dug up only in the company of 14 bags of used circus hay, which is then used to fill the castrati's grave and/or burnish the back of the violin, depending on if it's an alto or a tenor violin. American and European wood is failed wood! The best maple comes from KANSAS! Who could imagine? or not...
  21. Hello! I would say that the top would have to come off. A few of those have the potential for bass bar cracks. Yes, a can of worms. And a bad S.P. crack in the back is a deal breaker for me. Is this a job or a favor? A job? No. A favor? Let's see what we can do. In my opinion, you have to be enthusiastic about both cellos AND restoration to successfully restore a cello. You are clearly enthusiastic about cellos. If not so much about restoration, I would let it pass and maybe start on a smaller cello, like maybe a violin. Celli of a certain age tend to have all sorts of fancy, special, hidden problems not easily spied from without. If you are not excited about taking on a job, then that is a good sign that you shouldn't do it. If you are only nervous, then think a bit, have a drink or two, and either jump in or don't. From you past posts it is clear you could do this kind of repair. So drink up . Good luck.
  22. I would leave it alone. I like to remind myself that people were making fine violins during both world wars. Many of these instruments are well respected, as are their makers. Imagine making a violin in Italy, England, Germany, etc.etc.etc in the 1940's. Little nicks and dings seem a bit less tragic when the world is falling around you. Not to be overly dramatic. It really come down to aesthetics. Lots of good modern Italian violins have very noticable flaws, but they serve the whole, and are very easy on the eyes and ears. If you can live with it, so can I.
  23. Hmmmm. Looks very much like a Jay Haide to me. Very much. I wonder if Ifshin violins has seen these.
  24. Where can one, or I to be specific, find a copy of Francois Denis' book? I imagine it to be quite dear, and are there translations? Thanks.