arglebargle

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Posts posted by arglebargle

  1. 1 hour ago, jacobsaunders said:

    Many years ago, when I used to work in Vienna, I got sent to the Vienna Hilton Hotel, where an American orchestra was staying on “European Tour” because of some violin-making emergency. The boss sent me because he thought the Americans would speak English. They had rented a whole floor of the Hotel. I was astonished when I got there. I have never seen so many enormous women (fat would be an inadequate word) in my life. I was also surprised to learn that most of them weren't full time employees of the orchestra, but various local violin teachers and housewives that were hired on a gig basis. They were all extremely nice, and gave me a ticket for their concert in the Musikverein. I stayed until the half time pause out of politeness.

    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 glue tops back on one clamp at a time to get the ribs where I wanted them.

  3. 3 hours ago, Jerry Pasewicz said:

    Nope, I mean “carbon fiber” pins inserted in the heal.  Wood expands and contracts.  If you put pins in that do not expand and contract (carbon damn fiber as opposed to wood), the hole around the pin will eventually become misshapen and loose. Carbon fiber is an inappropriate material for this application.  I am a little sensitive about the inappropriate use of carbon fiber having been the one who has had to deal with the aftermath of such failed strokes of genius. 

    Got it. I assume you are not a fan of the one piece inserts that are set in both the neck and heel.

  4. 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.

  5. 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.

  6. 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.

     

  7. 4 hours ago, Don Noon said:

     

    All of the above make you end up with a thinner working thickness than you might have planned.  I too try to squeeze as many sets out of a slab of wood, but sometimes it is better to get 4 pieces with good thickness than 5 pieces that are too thin.

    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.

  8. 1 hour ago, Fiddlemaker5224 said:

    Currently I do not have a reliable way of measuring this. When a pressure wave encounters an object that object is set in motion creating vibrations of its own. When the object is shaped like a funnel it acts to concentrate the pressure wave. Thereby causing an increase in energy at the choke point ( thinnest cross section of the arm). Then is regulated at the speed of sound as it passes to the legs. I simplified the drawing of the pressure wave for a better representation. The energy is directed to the feet of the bridge through the legs with a constant speed while having an increased energy output.

     

    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.

  9. 14 hours ago, Fiddlemaker5224 said:

     

    86598050_190Figure25fbridge.jpg.44b0afb4d2cd6a848523f3f6de700248.jpg

     

    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.

  10. 13 hours ago, Fiddlemaker5224 said:

     If you look at Jerry's avatar picture, you can see the bridge center is shaped like a Heart.  This shape acts like a venture nozzle, by compressing the vibrations from the strings and focusing them toward the bridge feet. I also use this method om my instruments.

     

    Are you serious?

  11. 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.

  12. 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. 

     

  13. 21 minutes ago, Jerry Pasewicz said:

    C2397FD6-DAD9-4409-81DD-3506E1AEA118.thumb.jpeg.c28bd4eefb4fe83e92f6d1fbbe1858c2.jpegThis is a poiriette stick for cello.  The horizontal line is the poiriette line that the edges of the fingerboard would be aligned.  Does this help?

     

    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!

  14. 1 hour ago, Jerry Pasewicz said:

    Poiriette is usually about 1 mm on cello, however, it is measured at the lower bouts as that is where the player’s legs index off the instrument.  It is entirely possible for the overstand to look as if the poiriette is opposite when it is entirely correct .....due to the twist in the cello body.  Violin poiriette is opposite as you state.  Adding poiriette does have an effect on the sound and feel of the instrument, quite a bit for violin and not so much for cello.  This is very helpful especially given the sound and feel we were looking for in NY and the way the tension of strings is graduated.  Violas are set with no poiriette.

    Jerry, 

    Could you explain how you measure poiriette at the lower bout? I'm having a hard time picturing/understanding it.

    Thank you

  15. 5 hours ago, baroquecello said:

    I'm only an Amateur, and everyone here is really negative About your chances of repairing it. I don't really undertand why. All cracks look Pretty clean to me, so should be relatively easy to glue, but I'd think the bass does need to be taken apart almost completely, and all old repairs must be undone. I would not be surspsised however, if after cleaning it up (assuming it is all hide glue thatwas used), the cracks will be not that hard to glue together. They all seem to me like they are due to shrinkage of the top and back, which was under stress because the ribs and bracing didn't shrink along. You'll probably Need to replace the bracing, and shoten the ribs. It is a Long term Project, but if you have the space to store the Instrument while working on it, and it is a Hobby, then why not? it doesn't look impossible to me. But as I said, I'm only an Amateur and stil working on my first violin repair Job. I just hope my post will provoke some experienced People to react with advise.

    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.

  16. 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...