arglebargle

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Everything posted by arglebargle

  1. What, if any, are the advantages of bronze over aluminum?
  2. I have always wondered as to the reasoning behind this design. Mainly, why? Was he just an eccentric, or is there more behind this idea? Did others also use this design? I would love to hear more.
  3. Great. Now I want more of these.
  4. That is a nice piece. If I sold more strings that would be a great use. I had doubts that I would be able to fill it, but I only have 6 drawers left! It has really opened up a lot of room in the shop, and made things easier. I am now in the process of organizing the organization, and memorizing where things are. Not every drawer is filled. Some only have small items in them, but they have a home. for example:
  5. Maybe I'm wrong, but plate shrinkage never struck me as a problem that modern makers needed to address. I've seen many older instruments with fine, intact margins. Why would you assume that your plates are going to shrink? Rib distortion seems a much more likely scenario. I would venture to guess that rib expansion and shrinkage is the more likely culprit of plate changes than the actual plates themselves.
  6. Thinking back on it, this mostly happens at the lower block. As in, I've never had to shorten c-bout or bass side upper bout. It makes me wonder if the plates are shrinking, or are the ribs expanding from neck sweat and hand grease. I know that plates shrink sometimes, but it seems to be rare enough that compensating for it at the start would be a bit of overkill. I mean, you can see a lot of weird distortions on older instruments, but it doesn't necessarily indicate a problem that needs to be prevented from the start.
  7. Yes! I miss being able to see who else had read the book you just checked out. 99% of the time I had no idea who they were, but once in a blue moon you would see a name you recognized.
  8. One of the drawers still had the cards in it. I have fond memories of finding my way through the card catalog, looking for my next favorite book.
  9. I finally found one! Well, found one close to me, at a great price, and in great shape. My dreams have standards after all.
  10. Ever since I started down the violin making road I have wanted a card catalog. Almost immediately upon seeing other peoples workshops, (and a few of these had one), and the vast array of bits and pieces and odds and ends I thought to myself, "Young man, you need an old library card catalog to put things in. Please set about finding one. And be quick about it." Well, 22 years later, I got one! I present to you, a dream fulfilled: So remember kids, as Jerri Blank said, "It must be nice to hope for the thing you wish to want." And it is. Now back to the sorting.
  11. I'm looking for a rasp, but can't find it. Tried Herdim and Dictum, but no luck. It is a triangular, double sided rasp, and was designed for scroll grafts, among other things. Any clues would be appreciated. Thanks!
  12. The difference being that a paintings appearance IS it's function, whereas a violins function is the production of music. If a visual art form is unappealing visually, there isn't much to be done about it and it has "failed" in its function. If a violin is unappealing visually but sounds great, steps can be taken to mitigate the former in service of the latter, which is the more important of the two. If a violin is ugly to the point that no musician wants to touch it then what is its point? After all, there is no shortage of violins out there. And of course, this is speaking in the broadest possible terms. Every instrument comes with its own set of considerations.
  13. It would not. It's either that or into the trash. We should stop fetishizing violins. To be clear, it's ruined varnish. Any living maker seeing his or her violin in such a condition would not hesitate to strip it and try again. Many makers strip their instruments if they don't like the look the first (or second) time around.
  14. Why not? It's a nice violin, but not an historically valuable one. If it can't be sold, and made to do what it was built to do, what good is it? It's a tool, not a sacred artifact. You can either make it useful (sell-able) or trash it. Honest questions.
  15. You can find Johnson's book on amazon, and you can get Brian's book directly from him.
  16. Beautiful as usual. Do use the same ground for poplar and pear as you do maple?
  17. Yes, this. It allows one to work the pegbox without worry. Something like this:
  18. DON'T fill it with cocaine. I won't make that mistake twice.
  19. Fair enough, and good for you. Really. My only point was that criticizing people for not taking the extra time required to make the thing they just spent money on better doesn't account for the time they are losing. Having the spare time to retrofit/fix/improve a tool is great (I've done it many times), but sometimes you don't have that luxury and want things to work out of the box.
  20. What is your hourly rate? For most violin makers/ repairers, ~2 hours is quite a bit of money. It's been said here before, but time is money, and for some it is worth extra of the latter to save on the former.
  21. To be clear, I don't use toothed finger planes to do the arching, only as a step between planes and scraping, to smooth out the plane marks.
  22. I find toothed finger planes essential for smoothing out the work of the regular finger plane blades. Without them I find the process of scraping the ridges and valleys out much more difficult. This.
  23. Is that what does it? The size of the cut is so small that it can't pull up (tear out) the surrounding wood?
  24. I use a toothed finger plane to smooth out the regular plane blade marks on the arching before scraping. I find it gets rid of the ripples and ridges and valleys left by the other planes. What do you use?