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Everything posted by arglebargle

  1. What's the weather like up your own ass? You really come across as a loathsome person. I hope for those in your immediate circle that is wrong.
  2. Can't help with the pigments. Don't know what they are, your varnish, or your methods. Peg holes get bigger. It may take a month or a lifetime, but the pressure of the peg combined with seasonal changes will change the peg hole. When reaming the hole I leave room for a few hard turns in the opposite direction (not the cutting direction) to compress the peg holes, then fit the peg. If the pegs move, just drill a new string hole and trim it. You often have to finesse the ribs of older violins to get them where you want them. Removing them completely will only make it worse. I've had to
  3. Got it. I assume you are not a fan of the one piece inserts that are set in both the neck and heel.
  4. Oh my! Do you mean the "pins" inserted into the heel? Would you care to expand on this? Thanks!
  5. In the process of doing a scroll graft on a cello, new instrument, and using this for the first time. An Iwasaki rasp. Not necessarily from Woodcraft, and mine is the fine cut, but wow. I've done many scroll grafts and these work really well and are making quick work of the process. Much better than a regular rasp. Pick one up if you have this job in your future.
  6. Since this came up again, I thought I'd mention this, "stick-fast". I use the medium and I've found it to be the best brand I've used. The loctite mentioned above is also very good. I don't know why, but this stuff just seems to work better than most. It stores really well, and I have virtually no issues with clogging or build-up. I'm on my second bottle in 4 years, and only because the first became too thick. I still have that one and it still works great. I like it.
  7. I don't know about anyone else, but I was excited about the "Tales from the loft- the hunters" entry. Disappointed it was spam.
  8. I am currently making two cellos, same model, arching, etc. different woods. One is standard maple (european) and the other is pear. I am excited to hear the difference in sound and I will report back when done.
  9. Yes this. Depending on what you paid, I would be happy with 3 big, safe workable pieces and ribs rather than 5 pieces right on the edge. Unless you are really skilled at re-sawing, which I am not.
  10. In fact, if it was the case you describe, than wouldn't this would be the more effective design, an older baroque bridge?
  11. So the image you presented is just your speculation of how a bridge vibrates? I don't see the bridge as funnel shaped at all, or any aspect of it either. The "heart" is the consequence of the aesthetic sensibilities of the time, not some kind of vibration-directing device.
  12. How do you measure the waves traveling through the bridge? Based on your drawing it seems like the A and D string waves would hit the upper part of the heart and bounce back, barely reaching the feet. My understanding is that the vibrations moving through the bridge are a lot more complex than what you illustrated. If the heart was upside down, would the sound be effected? What if it was a circle? Honest questions.
  13. The most important things on a totally electric violin (not acoustic with a pickup on it) is the set-up and the amp. Shape doesn't really matter. You need the neck to be comfortable (something lacking in most low end elec. violins I've seen), the string length to be correct, and the bridge/nut/tailpiece/saddle to be well made and installed. After that it is all about what you use to get the sound out of it, mainly the amplifier. You are going to pay for a good neck/fingerboard and set-up, so focus on those aspects.
  14. Ivory soap works great. Just soap, nothing added. I've used it for years with great results. When the pegs won't grip, I use (very little) lava soap, in the bar form. It has pumice in it.
  15. Yup. And of course begs more questions, if I may: Is the difference between the treble and bass side a standard number, say 2.5mm? It appears quite large in the picture. Would this used on both new and older, funky instruments? And to be clear, is used when initially setting, or totally re-setting the neck? In a case where the lower bouts "need" a different tilt than the neck, which would take priority? Example, the body has warped to the point where the overstand would be reversed (A @ 20, C @ 22). Thanks!
  16. Jerry, Could you explain how you measure poiriette at the lower bout? I'm having a hard time picturing/understanding it. Thank you
  17. My understanding is that the tilt on a cello is mainly to facilitate bow clearance of the c bout on the A string. If you tilted it like a violin there is a chance the bow would hit the edge. But it varies by instrument.
  18. You got some advice from experienced people: don't. Or do. It's your time and effort and money. Nothing about that job looks feasible, reasonable, or even sensible. Not all instruments are meant for the ages. Give it a viking funeral and spend your time better.
  19. Just saw your new post. Throw that away. Don't add linseed oil to spirit varnish. Buy a good varnish from a known varnish maker/supplier, one that specializes in vanish for violins, and keep practicing. And read and ask and read and ask and practice and read and practice...
  20. I might suggest buying cheap white violins to practice on. Everyone here has screwed up a violin or two or three. It happens. It takes the sting out a bit if you haven't spent hours creating the thing you just screwed up. Cheaper in the long run?