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Everything posted by arglebargle

  1. Someone asked me recently how toothed blades work. Why do they not tear out? And I had no good answer. Could one of you smart folks please explain how a toothed blade works to prevent tear out? Thank you!
  2. Well, as the title suggests, it helps me "visualize" the arch. As in seeing the shape, contours, and recurve. As well as any high spots or distortions from side to side. Much in the same way a contour marker can do. Much in the same way a ruler and backlighting can do. Much in the same way a chain can do. The laser is not arching the plates for me, but helping me see how the arch is progressing. And as I've said, it is only one (and a very recent one) of the tools I use. Time will tell if it proves to be useful to me. Right now I'm having fun with it. The best part? You don't have to use one.
  3. There is nothing wrong with arching templates. I never said there was. I just don't use them. I was trained to do the archings by eye (among other tools) and that's the way I've always done it.
  4. I used it a little yesterday while arching a cello, and with the lights on in the shop it is not at all hard to look at. With the lights off it is a bit bright, but gives a nice clear image of the contour. I see it as just another tool in the tool box. It won't be the only (or even the most useful) thing I use, but I'm glad I have it. I don't use arching templates, so seeing clearly is helpful.
  5. Yes, the one Don originally pointed out.
  6. A follow-up: This is what I ended up buying, HERE. The tricky part was finding a level that would let you turn off the self leveling option. Most blink constantly if they are not dead level. This one has that option, so you can hold it and move it where you want it. It only blinks once every 5 sec, which I can live with. So, large enough for a cello long arch and a nice bright line. I haven't really worked with it yet, but I am pleased. Some pictures:
  7. Thanks all, I'm looking for something quick that I can pick up and use while I am working. I don't want to stop and mess with tape and lights and rulers. I've actually done all that. I do use a number of methods while I'm doing the arching. I think that this would help me (at this point in my working career and degeneration of my physical body) get to where I need to be easier. But I might be wrong. I'll be making a trip to **big box store** in the morning to see what they have. Does anyone else out there use this while they are arching?
  8. Hi all, I'm looking for an inexpensive laser to use to check my arching. So, something to create a long line to shoot over the arch to see the contours better. I'm thinking a laser level, but don't want to spend a lot of $$. Any suggestions? Thanks!
  9. Many, many good sources. You will want aged wood, which will exclude some suppliers. To get started I would get a nice set from International Violin (they are in Baltimore). Good wood, Ken is very accommodating, and it will be ready to use right away.
  10. How do you know he doesn't "understand the privilege" he speaks from? How did you get inside his head and experience the entirety of his life? What makes your experience any less "limited and biased"? A lot of assumptions going on here.
  11. Tormek will sharpen your gouges with a hollow grind. If you can work with that, great. I've used a tormek for over 20 years and I find it perfect for my needs and the way I work. My gouges are sharp.
  12. The main issue I have with this topic is the notion of a lack of diversity as a problem. Can some one quantify exactly how many of each race and gender need to be working, and to what level of success, in order to be "diverse"? There are not a lot of blacks, lgbtq, etc. working in this field. So what? Maybe they don't want to. Over the years I have had more women come to my shop and ask for training than men, and they were all awesome. I currently have a male asking for training. He's white. Should I turn him away? Maybe there are not a lot of diverse people in this field cause they don't give a shit about it. As far as head-up-your-ass ignorance about the ability of women vs men, fuck that and fuck them. All men have mothers, and many also have daughters.
  13. What strikes me as missing from the "cnc folk" is the pleasure of working a piece of wood from start (sort of) to finish. I truly enjoy getting a billet out and spending a while with it, just looking. Then the process reveals, slowly, what that piece of wood has to offer. A cnc is to quick, a truck stop hand job verses a great evening. And really, it just doesn't take that long to work a violin top and back to the point a cnc can get it. That being said, anyone who made a violin from start to finish, by themselves and using whatever methods they choose, made a "hand-made" instrument Edit: It also strikes me as a science vs craftman/artist debate, in some regards. Some.
  14. If you are serious about this, and it's not a passing fancy, you are going to spend a lot of money. The first thing you should spend your money on is a copy of Brian Derber's Manual of Violin Making AND the Art of Violin Making by Johnson and Courtnall. They will set you back around $400, but aside from an actual teacher/instructor they are the best resources out there. Spend that money and you will save a lot more than that in the long run.
  15. Thanks guys. I'm going to do a lot of planning (obviously) first and then go with the method I won't screw up. Most likely a hybrid.
  16. So, I've done many scroll grafts on older, "existing" instruments, but never on a new "non-existent" instrument. I know there are many makers that do them routinely. My question is, what is the best order to do the work? Should one carve the scroll, including the pegbox, then fit the neck to that, or is it better/easier/smarter to just join the two un-carved pieces? The latter strikes me as easier and more forgiving. I'd love some thoughts and advice. Thanks!
  17. Alleged Klotz was one of the best in the family. Congrats!
  18. I do neither. I conjure them into existence.
  19. I just joined a cello back using this and this. However, just as important as the tool is the method.
  20. Beautiful! Would you be willing to describe how you use the "saftbraun"? I assume this is the same as walnut crystals? Thanks!