PeSt

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About PeSt

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  • Birthday 02/03/1957

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  1. PeSt

    OPUS-1

    Interesting comments. I tend to agree with John that the f-hole as a whole has to look well integrated in the arching and most Strad (I have seen in pictures) are not 100% straight, but have a pleasing appearance seen from side and top. And my goal is to get this "look" eventually. Cheers, Peter
  2. Todd, many classical Cremonese makers decorated their violins with black highlighted edges on the scroll (and sometimes on the rib edges too) the way you can see it on your attached picture, which shows the Messiah and Lady Blunt which have to be the two best preserved Stradivari violins still in existents. But Many other violins from that period still show remnants of this decoration. The Titian is one of many. But as you correctly suspected, heavy usage worn off this decoration. Cheers, Peter
  3. PeSt

    OPUS-1

    Wow, what is going on here?! Thank you all for the compliments, but I still think it is just beginners luck. Peter KG, the sloping f holes are only one of the "hallmarks" of a beginner's violin. As mentioned in the first post, there are many more. I am finding it a real challenge in getting the f-holes strait as so many curves interlace in the c-bout region! In addition what Jacob said, I also feel that the fluting of the f-hole wing does contribute to the "straightness" to some degree. I tried to improve on these issues in Opus-2, but unfortunately with limited success, which I guess is the reason things progress so slowly. But Jakob (Tomas younger brother) started secondary school this month and he now needs a full size violin - so a great motivation to finally finishing Opus-2! And things can only get better with Opus-3... bcncello, Yes my avatar here and on the label is the coat of arms of the city of Basel - We call it "Baslerstab" which has its origin in a bishop staff. The coat of arms from the city of Basel are normally shown to be held by a Basilisk (Dragon with a snake tail). The meaning of the letters E and X in my avatar mean (no surprise here) ex - in my case "ex Basel" = originally from Basel. Antonio had AS and I have EX Cheers, Peter
  4. Hello Keenan, As no one mentioned it and in case you haven't seen it already, visiting Jim McKean Cello making blog is a great read - there are 27 blog entry covering the making of a Cello in great detail! Cheers, Peter
  5. PeSt

    OPUS-1

    Thank you for the kind words on me making this fiddle and on Tomas playing it. Much appreciated. Considering I used the worst wood I had as I thought the first wont be any good anyway, I am really surprised about the nice sound. So I guess there is more to the equation than the quality of the wood. Hummm what? Well, as this troubles you greatly, I can only say you misread the label - or what you thought you could see through the f-hole. Here is the real-deal! You can read more about the making of this violin here. Cheers, Peter
  6. PeSt

    OPUS-1

    Oh dear, the mysterious Label - Well, the saying goes that you shouldn't judge the violin by its label... Or is it the book by its cover? Cheers, Steinemann Heade...
  7. PeSt

    OPUS-1

    My apology for re-erecting this old thread. But I hear the question a lot how does the first violin sound. Well, Tomas is playing my first now for nearly three years and earlier this month I heard it for the first time in a concert hall when he was playing Zigeunerweisen by Pablo de Sarasate with the school orchestra. I was positively surprised how well it sounded, but I would be interested in hearing the opinion of anyone with a bit more experience in judging sound - if this is at all possible. Wishing you all a Merry Christmas and a Happy New Year. Cheers, Peter
  8. jezzupe, your words are exactly how I feel. I would love to see threads presenting instruments from the many makers who participate(d) here as there would be so much to learn from it. Maestronet was a fun place to share information in the past, but not any more - just too much insult going on. Cheers, Peter
  9. Jeffrey, I am somewhat surperised that you removed MANFIO's thread of his latest creation. His work is of great inspiration for beginners like me and a pleasure to view. A picture in the " my bench" thread just doesn't do it justice - also the work there is normally of work in progress. Cheers, Peter
  10. Looks like Otter is havin a good time here Mike, you only need to study the Brandmair / Greiner Stradivari Varnish book and you are on your way to replicate the ground like the master did If it is such an important issue for you, it is a worthwhile investment as it is a great resource to have. Cheers, Peter
  11. The Johnson/Courtnall book's upper block depth is a bit more due to the mortice joint for the neck. Stradivary nailed his necks and could therefore use an upper block with less depth. John, why not use dowls and rubber bands as shown in my OPUS-2 build. It worked for Antonio and I like it too. Cheers, Peter
  12. In the Stradivari Varnish book, Stefan-Peter Greiner mentions a weight ratio of approximately 20 parts oil to 80 parts resin. He then saying the varnish is considered a lean oil varnish due to its oil to resin ratio of 1:4. Cheers, Peter
  13. PeSt

    The making of OPUS-2

    Thanks Walter. Ernie, I purchased this wood from a guy in Belgium together with some tops. Unfortunately two of the three tops had substantial run-out. I can recommend Ciresa in Italy for mapple and spruce and Florinett in Switzerland for spruce. I visited both last year and found them very helpfull and great people to deal with. Ciresa is located in the beautiful Dolomites in northern Italy and Florinett is in Latsch, a lovely vilage at 1600 meters in the Swiss Alps where the Heidi Film was shot in 1952. Cheers, Peter
  14. PeSt

    Pics of No1

    Congratulations. Interesting choice of maple. Is this slab cut? Cheers, Peter
  15. PeSt

    The making of OPUS-2

    Wow, lots happened here since I checked here last - I guess I work a bit slow lately... Thank you for your comments Roger. I tried using a metal washer, but I found it is moving up my scriber, making it difficult keeping a constant distance. This was the reason I made this plastic spacer so that I could hold it flat on the surface - and it worked well. Interesting about the square block Strad used. So my approach gas some historical merits I did visit the museum last year, but I didn't see a block which looked like what you describe. Do you know how wide this block is? Or does anybody else have a picture of it? As I needed a bit of a brake from purfling and edge work, I done the scroll instead. I followed the work flow as described in "The Art of Violin Making" which works well. But I found this blog interesting too. It turned out ok. I have to say I like making scrolls, so I think I make another for Opus-3 before I finishing off the edgework of Opus-2. Cheers, Peter