Roger Hargrave

  • Content Count

  • Joined

  • Last visited

  • Days Won



About Roger Hargrave

  • Rank
  • Birthday 01/19/1910

Contact Methods

  • AIM

Profile Information

  • Gender
  • Location
    Meyenburg-near Bremen-Germany

Recent Profile Visitors

27414 profile views
  1. In my opinion, most successful modern varnishes (admittedly not all) attempt to emulate those of northern Italy C 1550 to 1750. Such varnishes usually (not always) do this, by artificially ageing all or part of the material in varnish film. This might involve oxidizing the drying oil by various means. Or, it might involve oxidising the resins before varnish making commences. Occasionally, it involves oxidizing the whole vanish during or after the cooking process. And finally, it might involve oxidizing the varnish after it has been applied. Visually oxidisation usually works
  2. I’m just back after a long pause and I’m having difficulty remembering how to use this site. I hope that you will bare with me if I ignore some post while I go on my merry way. I like the odd message that helps me to think about the topic, but please, I don’t need any more posts about such rubbish topics as the Messi Strad being a fake.
  3. I did not write Aha That would be telling. But I promise I’ll get around to that later.
  4. David you don’t need this. When I was at the violin school back in the 1970s, we were shown a film made by an old (probably much younger than I am now) cello maker. At the end of the film he varnished his finished cello with a clear oil varnish. I think one or two coats only. Of course, even back then, as mere first year students, we all knew he was wrong, but he wasn't. The problem we all face when trying to reproduce any classical varnish, is that what we are seeing today, is not what the great violin makers saw when they applied their varnishes. Varnishes, like human skin, suffer
  5. An absolutely perfect illustration of worn varnish. I have already copied it for future use. Thanks David!
  6. Either he/she or you misunderstood what is meant by fit. Fit is the most important factor for the health of the instrument. So it goes without saying that when the post is in the optimal position for sound, it should also be fitting the plates exactly. Too often people find the best sound position, but ignore the fact that the post does not fit perfectly, thus risking damaging the instrument permanently.
  7. Wallmart is a supermarket and I've seen them for sale in Walmart. But that was a couple of years ago so maybe they've stopped.
  8. Change the word probably to certainly and I am in full agreement. I have been a 100% violin maker since 1987 and it was hugely rewarding, but not financially, at least for the first ten years. My wife bless her, always had a steady job and that kept me in boiled beef and carrots over this period. Being a full time maker ain't easy, but it's worth a try. And if you are making as an amateur don't expect too much. After all you are doing it for fun. I don't suppose you would not expect to earn money with another hobby. If you want to make money get a paper round. If you invest the same amount of
  9. This is close enough, although I usually simplify it to: Away from bridge opens or frees the sound (more volume), but too far away and the sound looses focus. Closer gives you more focus but eventually stifles the sound. Mostly however, I find that tightness-tension is the main key. Tightness depends on the flexibility or otherwise of the plates, but as a general rule, once in the "right" place, the post should fall over if the ribs are squeezed gently. The correct fit is most important of all, but only for the health of the instrument, otherwise it has little bearing on sound. Like everything
  10. The problem is that guns can also be purchased in supermarket in the US. And I fail to see how so many of you are making light of this. I only hope that none of your kids are ever killed by a gun legal or otherwise.
  11. Actually according to the Hills Antonio Stradivari married Francesca, the daughter of Francesco Feraboschi, and widow of Giovanni Giacomo Capra, who committed suicide with an arquebus[1] on the Piazza St. Agata (now Piazza Garibaldi), in April, 1664. [1] An arquebus is an early type of portable firearm usually supported on a tripod or a forked rest.