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  1. An interview with David Schoenbaum: http://www.violinist.com/blog/laurie/20133/14476/
  2. See 0:50 of this video for dust extraction close to the source, though I am unsure how well this method would work for the different stages of the violin making process:
  3. As long as the dust accumulated inside the computer does not show up on the screen of your computer, it cannot be that bad
  4. Thanks for this. Yes, I am going to mirror one "good" half. I am actually not attempting an artistic or one-to-one copy of the Titian. I use the poster as a starting point and a base.
  5. Thanks for your feedback, everyone. So far, I have generated the most dust while filing, and it is enough to settle everywhere, which is why I am hesitant "to set up shop" in the office. My wife doesn't let me partition the sitting and dining areas , so I have been thinking about partitioning the office with plexiglass. This might be the only practical solution for me. And the Lee Valley filter looks like a good solution. Regarding #3: I see that my use of "professional luthiers" may be read as excluding others who are active on MN. It was not my intention to exclude anyone. Quite the opposite: I am thankful to all who share expertise and experience on MN. This is an amazing space.
  6. Hello, This is a multi-question post: 1. Few days ago I received my Titian poster and was positively surprised by the CT scan provided on the back of the poster. I am wondering how accurate these CT scans are with regards to mould measurements. Can I just trace the inside of the rib structure pictured there and assume that this gives me the actual size of the mould? If so, these scans fantastically reduce the work that is involved in sizing the mould from the outlines provided in the other posters. 2. I have a question for those who have set up a workshop space at home or in their office space. If you don't have a dedicated room for violin making how do you tackle the dust issue? I have an office space at home with books, computers and instruments and am wondering whether I might be able to set up a little workshop space in there. I realise that some of the dustier work has to be carried out in the garden or elsewhere, but what about the rest? Can an office and a workshop coexist peacefully within the same undivided space? 3. Not a question, just an observation: a while ago I started thinking about a model for a viola and received some really useful help from Manfio. It made me realise that his space here on maestro.net has been left empty. I don't want to start a debate about his absence or the admin's decision, which led to his leaving the forum. I just wanted to share my observation and acknowledge the impact these professional luthiers have here.
  7. Oded doesn't seem to like the Pfeil gouge (see #35). Working with an in-cannel gouge for removing back wood, I have to say I don't dislike them at all, but I don't know the Pfeil one. Urban Luthier asked a question about Juliet Barker's method (see #16). I am not speaking for her and I am unaware of the article Urban Luthier mentions, but when I started the work on my cello back, Juliet did recommend an in-cannel gouge, which I found comfortable to use. See picture. And does anyone know in which issue of Strad Juliet's method was outlined?
  8. Pfeil gouge, Link-Man style: http://www.pfeiltools.com/en/products/violin-makers-tools/violin-makers-gouges.html
  9. Are the clamps used by Michael Darnton in that video DIY?
  10. That looks like a nice alternative to rather expensive tools. BTW, Nice willow rib there
  11. Arash

    The Saveuse

    I finally found J. Dilworth's 'Small is beautiful' (Strad May 2012), which clarifies some of my questions. The wood of the back is described as '[t]wo pieces of poplar or willow' and the front is apparently 'made from seven jointed pieces'. I assume most people know this, but the article is nice and answered some of my questions, so I thought I post it here.
  12. Arash

    Fresh wood

    Nice, little article. Thanks for the link, Jim.
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