Guy Harrison

  • Content Count

  • Joined

  • Last visited

About Guy Harrison

  • Rank
    Senior Member
  • Birthday November 16

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
    Ottawa, Canada

Recent Profile Visitors

7074 profile views
  1. Thank you Joe. I still have notes I took in Oberlin from our discussions on varnishing. Very helpful!
  2. Thank you. I would like to work from memory but I find it very difficult! I prefer to have photographs and info on the bench I've taken myself. Always trying to observe more if I can.
  3. Still in the workshop working ! Finishing a violin based on a 1742 Guarneri. Not sure when I’ll be able to deliver it yet and proper studio photos will have to wait as well! The edgework and some surface texture in the craquelure.
  4. Next violin on the bench - a Stradivari (P form) model, with a one piece back this time.
  5. Thanks! The software is from There's many tutorials on youtube explaining how it all works!
  6. On my bench today - my latest violin. In the background are 3D prints of a Stradivari front & back, with their arching shapes - made from photographs I took of the Strad violin, together with photogrammetry software which stitched the 2D photos into virtual 3D models and then finally into solid 3D prints. I'll be using the prints for my next violin which will be based on this particular Strad.
  7. Thank you! The pigment making was a project with Hugh Withycombe and with help from others in Oberlin. I look forward to receive my January issue of the Strad and see the article in print! ( )
  8. Fitting pegs and finishing another violin, just before closing the shop for Christmas!
  9. I completely agree - Who cares if the research was done by a woman. Her appearance is not relevant either. B&G book is well worth the read - we just need a smaller paperback edition!
  10. The only Del Gesu I know in similar condition is the 1735 'Chardon' Guarneri. (photo from Bruce Carlson)
  11. Thank you ! - I often make antiqued instruments now but I was pleased how this cello had developed its own character with use.
  12. Cleaned up one of my older cellos a couple of weeks ago. Made new with sharp clean edges, now with 15+ years of wear and worn varnish from playing.
  13. Hi Thomas - The bushing on that violin is in boxwood. I've also used maple and ebony (I recycled a few old cello pegs). The hole in the block is reamed out with a cello peg hole reamer. And the hardwood bushing is shaped in a cello peg shaper. It's a good idea to first ream the hole to size in the lower block and glue size it. Let it dry. Then give a few turns with the reamer to neaten up the hole and glue the bushing in for a perfect fit.
  14. The "bushing" in the lower block is not really to stop the block splitting. (though I suppose it might help with that) It's a hard boxwood bushing that helps keep the endpin from shifting up, from the tension of the strings. I wanted the collar of the endpin to stay well fitted against the rib. So the bushing helps keep the endpin solid and stay well fitted over time. I fit and glue the bushing before I spot glue the lower block to the form. It's quick to do.