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    bela marina
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    I used to do other stuff, now I just make violins

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  1. Oh, ya ,well, we just like to see people suffer the old fashioned way
  2. Which reminds me, then of course we could throw in the Dremel rig/jig or the Foredom as an alternate. I always like to have options and I'm not opposed to either or. I do think beginners should go through the motions of being able to execute channel carving the traditional way, but, on the other hand there's nothing like a good LMI or Stewmac downcut bit on a properly set up jig, depending on what your doing, for example if I'm doing a guitar with a very hard material I don't mind "cheating" a bit. I know of two violin makers who primarily use "rotary" as their main "thing" mostly due to wrist problems. But I don't think there is anything wrong with even if you don't, it is faster and easier and as long as you have primo bits you won't get any burring. I'm sure there are some in the "wood has feelings" or perhaps "traditionalist's" {not that there's anything wrong with that} category that think rotary along with sandpaper and electric saws are fundamental sins and that the violin police might want to bring you down to the station for questioning, but I think anything that helps you stick a fork in it is ok and heck the two that I'm aware of that use rotary{excluding myself} are pretty up there if that makes you feel any better about "cheating" But I do suggest a good jig that does not rely on "freehand" control, that's a good way to eff shi up.
  3. "It was like Catcher in the rye, I thought to myself, if I can only just save one" I hear some low quality schmaltzy violin playing in the background , somewhere in the distance a whippoorwill cries out
  4. I think what I was getting at is that if you dip your middle index and thumb into the glue very shallow, like a 1/2 " for a half second , that most people can handle that and then simply extrude the purfling thru the fingers. You do not need to be speedy because your not trying to glue the purling to anything , just coat it with glue, as if it were paint....you can use a brush, but I find it wasteful and potentially messy on the wax paper , and well just applying with fingers uses the least amount and seems to apply it the most evenly, then obviously clean your hands when done ....I mentioned the heat thing because some people are way more sensitive to heat that others, I suppose dependent on how calloused ones hands are
  5. Your original insight is correct, and that once varnished and perhaps with some extra attention with a filling varnish it should look ok enough. So before you go and try to do something like dutch on a piece of wood to make it bigger and fill the gap, I will simply say that a "modified" version of the Hargrave method will save you or at least make the job manageable. The Hargrave method, which I named after Roger Hargrave, involves pre-painting or coating the purling to be used , installing it, then brushing on hot water to activate the glue, this give one all the time to get it right and does not make a glue ghost nightmare....so in most cases under normal circumstances we would want to apply the glue so it it is very thin{but adequate} so it will be a snug fit in the groove { I always suggest making pre glued {swelled} pieces to use as a gauge for sizing the channel, just as much a pain when it's the other way around being to small. But in your case instead of laying the glue up thin, you will be laying it up thick and may even do 2 coats. I suggest wax paper, with plastic pens for stickers and to simply dip three fingers into the glue {if you can handle the heat} and extrude the purfling through your fingers with a little twirling in order to coat all the surfaces. By building up a couple of layers of glue on the material you will greatly increase the dimension and make it so it will stay put when you are trying to fit and cut it, pre clamp strategically, then apply water and let it dry. All the low spots will sink down where there are gaps and it will return to looking small in the groove, but it will stay put, and then as you progress with the varnish it will smooth out enough and if you need to toothpick in some filling varnish before final coats it should work well enough to be good enough to move on to the next one and get it better next time... Always use just one side of the cutter and the do the other, don't try to get two channel walls in one cut, and don't use that tool for anything but shallow scribing of the line, they call it a cutter, but it should not be used for that, just a shallow cut that THE SHARP ASS FLAT SHOULDER KNIFE YOU USE WILL FOLLOW...You will have more success using a good knife freehand once the initial cut has been made with the tool, than using the tool to try to do the cutting, which is what it looks like you did. To see if this will work simply coat 1 piece before you commit to it all and see if the extra glue makes it fit snug enough for it to work
  6. It's not the size of your shop, it's how you use it
  7. Here, just , well, because. I really like their interpretation and particularly tempo's . I think he's a really very good soloist, keeping in mind these are from when he was a much younger man, but well, this is the kind of guy I want making my strings , ya know, vs a former used car salesman https://www.youtube.com/watch?v=Zc6g6J7ZULQ
  8. Strings to me are such a personal "minutia" type thing that all I can suggest is that you try them out and see, I do feel that strings are "instrument" dependent where Evahs may sound good on that violin, but not that one, for example. I do think Warchals offer a very good product at a very good price. The only gripe I would have that is because they are a younger and not as big brand name they can be hard to find locally, but they are pretty easy to find online. I think as time goes by you'll see their distribution grow.
  9. I'd 3rd the Warchal's. Bohdan post's here on occasion, and has some very good information. Beyond the fact that he put lots of time and research into the engineering of the strings , he himself is very competent, may I say extraordinary soloist himself and has quite a career in Slovakia where he is very engaged in playing and so he certainly knows strings from a more intimate players perspective....which probably has a lot to do with why they are so good.
  10. My take on this is that the hall size, shape, seating architecture and arrangement, temperature, humidity and materials {related to reflective/non reflective surfaces } ventilation systems and air flow directions as well as the amount of people in the hall and the listeners coordinate, throw in massive variables and due to all these variables that any given violin {or any other sonic performance} will fluctuate all over the place as far as "perception" of amplitude at a distance. all leading to the potential of any given violin projecting better or worse depending on all the various conditions and differences in conditions from room, to room, hall to hall and that each performance one may think of as "memorable" as far as how the violin projects may be "not thinking" about the hall and conditions and how those things could help or hinder perception. Or in any "listening event" just how much of that is the violin and how much is the room and conditions
  11. I think it looks great, I'm not sure what criticisms Andreas has, but for the first after a 25 year break I think it looks very good
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