lambert

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About lambert

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  • Birthday 07/10/1986

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  • Gender
    Male
  • Location
    Louisville Ky
  • Interests
    In no particular order: Vegetable and herb gardening, Woodworking, Music playing, Music listening, Aimless Walks, Good beer, and good friends

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  1. Thank you all for the help, and Jacob, I really appreciate you contributing that recipe in addition to your advice and knowledge of the fiddles origins. Jeff-- The belly has a pretty large pin near the saddle. The separation on closer inspection is actually a crack that has developed about 1.5mm parallel to the center seam. It was glued previously, but obviously that repair hasn't held up.
  2. Thanks guys, The repairs on this are all things I've done before, but it's always been on lesser quality instruments, so I really just wanted to check in and make sure this wasn't something too out of my league... I feel good about doing the work, but then there is a certain line of historical and or monetary value I'd sooner not cross as well
  3. Hey all, I'm not entirely inept at repairs, but wondering if this is one for the pros. Recently picked it up at an antique store... The quality of the construction has caused me to set it aside until I can get a sense of what it is. Im guessing Mittenwald? It has: c bout linings let into the blocks, which are mitered and come to a sharp point A stamp under the endpin possibly reading: 1882 12 Generic Antonius Stradiuarius label Pencil marks on the back suggesting attention to graduations graduations that seem pretty in keeping with strad style grads. Oh and h
  4. Nice! First though I had was, if wide enough, you could cut off the sapwood with a little of the heartwood still on there, so that the transition from light colored wood of spruce and cherry sapwood to the darker red of cherry heartwood would happen on the rib. Could be interesting, esp since cherry heartwood darkens so much over time. Or it could look horrible?
  5. I didn't get to see the last three posts on this subject before it climbed down into obscurity, but thank you guys for responding. I dont know much about the ratio theories so thanks for getting me started in understanding those. Martin, I don't think this instrument is valuable. I posted about it when i was first starting to think about building and pictures can be seen here: http://www.maestronet.com/forum/index.php?/topic/323446-an-old-violin-identification-and-varnish-question/ In fact, in rereading the posts, you figured it was a "good quality German trade violin
  6. Thanks for the help guys-- Roger I got to follow some of the thread you made on MN about the double bass, but didn't see you'd created this awesome pdf. Looks like I have some reading to do
  7. Thanks Peter, that sounds very straightforward and easy to get repeatable results. How do you make the veneer?
  8. Hey all, I have had multiple unsuccessful attempts at making purfling save for the stuff i made for my recent first fiddle, which was...useable... With this recent batch I think I'm to the point of experience where Id like to throw out some observations in hopes they may help other beginners who are too "thrifty" or curious to order their purfling from a supplier. I also am interested in any and all suggestions from experienced MNers that will help improve my process and product! As of now I am using poplar and dyed walnut, because they're both readily available where I live, and t
  9. Thank you again-- I gotta admit I was nervous posting a picture on forum with so many talented people around. I'll try to be less shy about it in the future though Hey a local Maestronetter! I am game to talk fiddle building any time
  10. Hi Roger, Thank you for your encouraging words. I can only hope my 100th fiddle will be as good as your 2nd one Seriously, without the help of your articles, this instrument probably would have turned out 50mm too long and missing an f-hole As for the brickwork, I live in an older part of Louisville (mid-late 19th century) so its entirely possible that the masons that built it were English. Now I'm curious what gives it away as such you see, these are the kind of great secrets that the e-how writers won't give away to just anyone *scribbles in notebook* Pete
  11. I really appreciate the encouragement and kind words Hull and Will L-- I based the mold off of the rib assembly scan on the Titian poster, and had "the art of violin making" and of course Maestronet as my teachers. Manfio's corner and scroll carving tutorials, and Roger Hargrave's edgework article (all of which I hope to improve in #2) were incredibly helpful. The Varnish is the simplest (ie cheapest and fastest drying) solution I could find. Modified 1704 spirit varnish tinted with some aniline dye over an amber shellac ground over a thin gelatin seal. Overall I'm happy with how
  12. So when I was 23 I got interested in violin making. I quickly realized I was in way over my head, and after a few years of building other things, and sporadically learning to play the instrument, I've made a dang fiddle. Its not the best fiddle... I have much to learn, but it sounds good, and its not as bad as a couple primitive attempts I've come across in antique stores, so I am pleased. I havent had the chance to take lots of pictures so this one will have to suffice for now-- but thank you maestronet for answering thousands of my questions along the way. I learned a tremendous amoun
  13. Haha yeah I figured. Now I really have the scale length blues... Esp. considering the old scroll is grafted onto the offending neck.
  14. Addie, how would you deal with the 6mm of extra neck stop length?
  15. Yeah-- also, referring back to C&J the f holes are about 3mm lower on the plate than they suggest