Guy Harrison

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About Guy Harrison

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  • Birthday November 16

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    Ottawa, Canada

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  1. 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! ( )
  2. Fitting pegs and finishing another violin, just before closing the shop for Christmas!
  3. 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!
  4. The only Del Gesu I know in similar condition is the 1735 'Chardon' Guarneri. (photo from Bruce Carlson)
  5. Thank you ! - I often make antiqued instruments now but I was pleased how this cello had developed its own character with use.
  6. 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.
  7. 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.
  8. 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.
  9. It's not MDF. It's layers of thin plywood (,250,43217) which I glued together flat with epoxy. I wanted a form that could be easily shaped and also stay flat with no warping. There's many ways and different materials that could be used for this - this was my method for number of forms in my workshop and it's worked well.
  10. Thanks! This is what I'm working on now - two violins and just starting to varnish a viola.
  11. This violin just left my workshop today. Not a copy of any particular violin but Strad inspired.
  12. It's a nice fiddle! (and great sound in the right hands)
  13. Hi Bill, with this violin I was copying a particular instrument, so the upper bout of the back represents this. Sometimes the way a certain instrument ages is a little surprising. It doesn’t follow the formula we’re use to. As for sharing antiquing secrets, most of what I know is available in the Strad magazine, VSA articles and here on Maestronet. (I keep a few things for myself, since they are works in progress anyway) The key is working out methods that works for you. I have my antiquing method written down in the workshop and almost every time I antique an instrument I tweak the method or make notes for next time. This helps me head in the direction I want. The other “secret” is to see inspiring instruments, then take careful notes and photographs etc. I’m fortunate that I have some amazing instruments coming through my workshop from time to time. But the Untied States has some wonderful museums - National Music Museum (South Dakota) , Library of Congress, Smithsonian, among others. Have you visited these museums and seen their collections? I don’t drive but I still managed to visit the National Music Museum in South Dakota by public transport! - so no excuse not to visit these places!!