arglebargle

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Everything posted by arglebargle

  1. Creativity is the first excuse of the unskilled.
  2. I'll go for the U.S.A. Northeastern, New Hampshire, Boston, that area.
  3. 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 r
  4. 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 bet
  5. Hooray!!!! The answer! Now arglebargle is the popular one. Thanks!
  6. 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!
  7. Well, they ARE based out of Alabama.
  8. Howard Core Co. Always prompt. Always correct. And very polite, Southern style. I've had nothing but positive experiences. For what it's worth.
  9. Yeah yeah yeah. Or did I do it on purpose? Probably not.
  10. 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.
  11. 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,
  12. 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.
  13. Or you could look at them here. Under violin photos. If that's your thing. http://www.maestronet.com/forums/messagevi...9&enterthread=y
  14. 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.
  15. 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
  16. 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.
  17. Hmmmm. Looks very much like a Jay Haide to me. Very much. I wonder if Ifshin violins has seen these.
  18. 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.
  19. 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 w
  20. 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
  21. Jacob. Good question. Thanks for asking it.
  22. 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.
  23. 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