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Posts posted by arglebargle

  1. 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?


  2. I just got back from the advanced cello set-up class with Chris Dungey.

    It was a great experience. A really nice space and very easy to work in. The Mohrs are super nice and accommodating. I would really recommend looking in to taking some of these classes. It would be great to see this endeavor take off. Chris Dungey is an excellent teacher and provided a ton of great information, methods and tips, as well as the reasoning and logic behind them.


  3. I use an inside mold and no pins. I mark the corners and the upper and lower center line on the top/back. Then I lightly score the mold outline, then mark the plate outline. The ribs don't have to go back on the plates again until final assembly, and there are more than enough marks to show where they are intended to line up.

  4. 2 hours ago, David Burgess said:

    There is no such thing as zero deflection when a force is applied. Maybe it would be better to move on to how much flex is acceptable?

    I'l bite. How much?

    I've worked on benches that you need to anticipate the benches motion when planing. That sucks. These legs are as close to the feeling of the bench being attached to the wall on two sides that I've found. I have two work surfaces with these legs on them. One of them has (as close to ) zero (as can reasonably be expected in a physics governed universe) motion when pushed. The other I can detect a very small motion when I really give it a shove. But I don't typically work that way. 

    Anyway, I love them. They work great for me, and the checks from Lee Valley every month don't hurt either.

  5. 2 hours ago, David Burgess said:

    The geometry of attachment points does not suggest that!

    I didn't realize how much my big Ulmia bench (bolted to the floor) flexed, until I posted a video here of trimming the sides of a cello neck with a roughing gouge, and someone pointed it out.

    I'm not sure what to tell you. Maybe we have different definitions of movement and flex? When I have a cello neck on the bench and I'm planing it, there is no motion from the bench. When I am graduating a back, there is no motion. The truss rod that runs between the two legs is reinforced with wooden boards and tightened after the legs are attached to the bench. ?:huh:

  6. Since there was some talk about poor communication and long shipping times from Luthier's Bench, I thought I'd give an update.

    David (Luthiers Bench) responded very promptly to my email inquiries. I ordered the iron from his website, and it arrived yesterday. Wow. So that is delivery in 8 days, from the U.K. to U.S.A. Better than some domestic suppliers. I haven't used the iron yet, but I am very pleased and impressed by the service. So there you go.

  7. 10 hours ago, Muswell said:

    Luthiers Bench say the only difference between aluminium and bronze is aesthetic.  I bought aluminium and it's fine.

    Yup. That's what he told me. But fuck it. I bought a bronze one anyway. I had my first one for over 20 years, and I don't plan on buying another, so an extra 50 bucks so I can polish something shiny in my dotage is money well spent. 


  8. 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:


  9. 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. 


  10. 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.

  11. 1 hour ago, gtd said:

    I remember being proud of my name being the only one on the index card at the back of a number of books from the library

    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.

  12. 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.

  13. 4 hours ago, Blank face said:

    Because the original yarnish is an important part of historical value. Full stop.

    Just because somebody might not understand it now and yet, it's not less true. If it's "ruined" now might be seen different by different people at different times and places; but to strip and revarnish a ca. 150 years old violin with an actual untouched varnish, because somebody doesn't like look and appearance, is usually seen as vandalism and high grade of devaluation.

    This kind might be more often found here than at oversea, so you might not be aware that they do have a significant value. A stripped and revarnished example doesn't have any.


    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.