arglebargle

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Everything posted by arglebargle

  1. 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.
  2. In the violin making world I think there are a few aspects that distinguish a professional from an amateur. I don't, however, think that one of them is love of the craft or the search for beauty and artistic expression through it. I have never met a "professional" that is not an artist through and through, and genuinely moved by exemplary violins, no matter their origin. Maybe I am just fortunate in that regard. A professional in the violin world is some one who has the ability, knowledge and understanding to take care of a customer for life. No matter what needs arise, you will be able to help that person. A few examples. If you sell one of your violins to a customer, the professional will be able to help that customer step up into a better grade of instrument, either a better one of yours, or a higher quality antique. If you have limited ability or a limited access to instruments, then there may come a time when you will no longer be able to meet the needs of your client.Then what? You would have to send them else where. If your client breaks the instrument they purchased from you, can you confidently take on any repair that might arise? Do you have a large enough field of knowledge and experience to help make the instrument right? Be it a new bridge or a neck graft. When you accept money for a product you have created you are entering into a relationship with the other party. Like any relationship, a one sided one will usually end in tears. Or a restraining order. A professional in the violin world will confidently handle any and all aspects of the relationship with the customer. In my mind, it becomes a very confused area when the amateur starts taking large sums of money for a product they either made of "found". To me, a large sum is 1000$, or even a little less. I do not mean to sound negative, or snooty, or elitist. I would not consider myself a professional, but rather one who is working hard every day to reach that level. I also feel that the judgment of professional or not is, in a large part, not entirely up to the person. It is a consensus reached by the community at large, often unbeknownst to the "professional" in question. Oh well. A bit convoluted, but just some of my thoughts. Good luck.
  3. That's a tricky one. Best case: All the violins are well set up to begin with and the players are respectful. A check up once a year, a few hundred dollars for worn strings and rehairs... oh wait, most likely all your bows will need rehairs after a year. A few this and thats. People do love to complain. Still well within reason, Worst case: 10 new bridges, 10 sets of strings, 10 broken tailpieces, 10 sound post cracks, etc... Only to say that anything can and does happen to instruments on loan. The safest bet is to assume major set up work for over half your "fleet" over the course of a year. A few instruments will need repairs, and chances are one will be "destroyed". This is assuming, of course, you are renting violins to drunk monkeys. If you are not the results could be better, or worse. The pleasure of putting a good sounding, well functioning instrument in the hands of someone that cannot otherwise afford it is well worth the effort and expense. When built wisely and over a long period of time, a rental program can be both rewarding and profitable. It's alot of work, but so what. Good luck.
  4. Jacob. Good question. Thanks for asking it.
  5. It may be a little late for now, but I found it best to always work on multiple violins at the same time. Espescially with my first efforts. I always did three at a time, and found the repetiton of each step very helpful. It was always gratifying to see that number three in the group was always slightly, or much, better the it's two earlier siblings.
  6. Tim, good work. I can't tell all that much about the arching from these pictures. A flat/side/front to back view might be more useful. That being said, there doesn't seem to be much re-curve around the prufling channel. I like to see a bit of flat right before I hit the perfling. Just a bit. A tiny bit. What I can see is that you need to spend a little more time easing the arch into the purfling channel. From these pictures I can see alot of break and chop on the approach to the purfling. Use sunlight and shadows to find these spots and eliminate them. These little imperfections are magnified instantly with the first coat of varnish. I think a new violin maker is well served by this sort of attention to detail. You might as well do it now. Either way, don't stop till this is finished, then start another right away. Then another and another and another and another...... Good luck
  7. How about Jon Cooper in Maine?
  8. All the different ways to "suck corn" aside, maybe it would help if you made you're questions a little more specific. What do you want to know? Whether you know it or not, or even like it or not, you have access to some of the best minds in the violin making world today through this forum. I find the suggestion that the co-author of one of the seminal books on violin restoration and repair put in a shoddy soundpost when compared to yours laughable. I've read countless entries on this site, and I have found the people here to be more then generous with their hard earned knowledge and exceedingly kind. It seems that every question you ask is followed by a long rant about how you don't really need to know and any answer you get is something you already thought of and you could do it better and you're older and don't have much time and so on and so on. If you want to know the best way to take the top off a violin, just ask. I, for one, wouldn't mind having Mrs. Shipman install a soundpost for me, or most of the violin makers who post here for that matter. We should all be so lucky. That being said, once again, good luck.
  9. With all due respect, it doesn't seem as though you care one whit for anyone else's advice or suggestions. So go for it. What can't be done through careful planning and reason will surely succeed through force, ignorance and luck. If your looking only for encouragement and applause, then here's some more: It's not that hard. Anyone can do it. The method and design are obvious. What's the worst that can happen? Good luck.