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Everything posted by arglebargle

  1. 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.
  2. Hmmmm. Looks very much like a Jay Haide to me. Very much. I wonder if Ifshin violins has seen these.
  3. 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.
  4. 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
  5. 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
  6. Jacob. Good question. Thanks for asking it.
  7. 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.
  8. 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
  9. 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 know
  10. 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.