~ Ben Conover

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About ~ Ben Conover

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  • Birthday 12/29/1969

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  1. Top, back edge fluting

    If you gouge the purfling channel first and blench it into the arching then I think most Del Gesus have not much further depth to the scoop than that of the purfling channel. How far in you take that depends on where on the plate you are. For example do you connect the edge scoop to the lower f hole eye scoop or not. No one way to do it.
  2. Top, back edge fluting

    When you say how 'much', I think of using a flat gouge and a scraper, that's how much. Doesn't take very long really, but long enough to get it right. As to method and shape, in my mind there are two main ways to do it. 1. Sacconni 2. Hargrave You can end up with similar results from both methods, but most people do Sacconni because it's what is taught in schools. The Hargrave one is more intuitive and difficult to do accurately since it's more by eye, where Sacconni works to the scribe line between edge and purfling as a reference point from which to use the gouge. The scooping that blends the purfling channel into the main arch depends on what style you're doing......Amati would need much more scoop there than Del Gesu which needs virtually none.
  3. Neck Overstand

    Tend to agree with Conor and the other poster, using standard measurements makes sense. String angles at bridge and nut are a result of basic design, and it's not gonna change much on a normal size fiddle. Personally I'm convinced that normal tail gut length and material and saddle height are of little importance other than serving to make the fiddle secure. A high over stand is another matter since it's really something a player notices, or not....and there again the 'normal' measurements tend to be easiest for a player to relate to. Making a viola with a massive arching needs a higher over stand and saddle yes, but only so much as it can function as normal. Happy new year Conor.
  4. Bow with Tortoiseshell frog ID

    Very Good !
  5. Fixing an ivory frog

    Thanks Connor, I'll avoid it.
  6. Bow with Tortoiseshell frog ID

    Learned recently that the stuff they used for frogs wasn't tortoise at all but turtle.....and they do wash up quite often. That's a very fancy button.
  7. Fixing an ivory frog

    Hi KYC, where do you buy Xylol ? Cheers.
  8. Sanders

    Hi Jim, Been using the sander for lots of things including silver. I use 150 grit mostly, change discs quite often, there's a good trick in putting the disc on where you use a half moon of paper.... Good luck.
  9. Kremer's new violin ground

    Kremer says to use 100 grams per violin, most of that would be wiped off but I'm wondering about the extra weight grounds and varnishes add. Neil used a similar ground, and some use Tripoli. Not sure it makes the finishing process any easier.
  10. Milstein's bow technique

    You might also consider that Milstein's favourite bow was the ‘Milstein’ François Tourte, made in Paris around 1812. He was Auer school, the right shoulder was used more than the modern schools today, he also had large hands.
  11. Oh no!!

    Make a nice bread board with that.
  12. Question about Ferrule Making

    Interesting, the book by John Stagg mentions that you could make a ferrule as you would a ring, ie solder after it's tapped to shape. Why did you make a Hoyer and not a Vuillaume mandrel ? I think the idea of a two part ferrule is mainly that the arch doesn't need to be as thick as the flat.
  13. Bow length measuring and frog size...

    Old frog sizes vary, the Sartory model frog can be 14mm wide. Some frogs are short, some low, some long..... Walter Paulus suppliers have general measurements of new frogs 'in the style of', on their PDF chart. I'd like to know more specific measurements of old master frogs and heads etc, if anyone has them.
  14. Michael Köberling`s bench

    Clever work, I like the scroll.
  15. Melvin Goldsmith bench

    Excellent Melvin, how high the arch ?