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Posts posted by Arash

  1. At risk of being boring.. I just finished my new workbench which is not in the garage, and is in the house in my office. Nothing interesting to look at but I imagine it will develop some character in time.


    Nice to see this set-up. I have some space available in my office too and have been wondering whether I could convert a corner into a little workshop.

  2. Thanks for the link, Joseph. Your approach is interesting, but I was hoping to copy from a poster, thinking that that would be more straight forward for a beginner. However, I have not narrowed down my options to a particular model. I like the Viotti and its back, but read on another thread that people were sceptic as to whether the Viotti would be a good choice; if I remember correctly.

    Good luck with #2 and the viola.

  3. I have been reading the forums on an off for some time now, while waiting to make an instrument myself at some point. I have now embarked on my first cello at a workshop. Although at a very early stage with the cello, I am planning my next instrument which will be a violin. (I enjoy the planning and thinking process). I am hoping to get some advice here and to benefit from your knowledge.

    At some point I would like to "copy" an old master with a one piece back. I understand some models are more difficult to copy than others. I am wondering which violin people would recommend to a beginner! If the question or my thinking are flawed, I would like to know that as well.

    Many thanks,


  4. Hello Gargan,

    I would recommend sticking (get-it? zing-pow :lol: ) with hide-glue for your friend, certain with it being the traditional glue used in the construction of ouds and other Middle Eastern lute type instruments. Hide glue is available in different strengths and I imagine several members of this board who are located in the UK can steer you into the direction of a reputable store to purchase from.

    Fish glue I personally haven't come across in a "hot" format. Fish glue is very high tack and here in Canada we can purchase it from a shop like Lee Valley Tools and I'm sure a similar UK shop would have an equivalent product that one of the members here could suggest for you.

    Best of luck to your friend

    Hi Gerald and others,

    I agree with you that the traditional glue might be best, but as is often the case, the traditional method can die out quite quickly once foreign products enter the market. I know of several lute makers who have comletely changed to using Titebond, trusting that a Western product will be better!!! In this particular case, I am glad that my friend is willing to explore and research the options.

    So, if I understand it correctly, fish glue is very strong but not necessarily used in Violin making. Is that right? Would it be correct to say, that hide glue is the traditional glue in Violin making?

  5. Hello all,

    I am asking this question on behalf of a friend who makes Middle Eastern lutes. Traditionally they use a type of glue, which, I think, is best described as animal based hot glue. But I am unsure as to what type of hide or bone they might use in the glue. He has asked me to see what other alternatives may exist. The glue has to be very strong and water soluble in case of repairs. It is usually used to glue the two sides of the wooden "bowl" of the lute, but also to glue camel bone to the neck which makes the fingerboard. In some cases, the peg box is also constructed out of little pieces of wood which are then glued together. My friend is particularly interested in fish based hot glue.

    I am myself in the UK and would be grateful for any advice you might be able to provide. Since his main interest is fish based hot glue, I wonder what people here think about this glue and where I might be able to purchase it. I would love to hear about alternatives so that I can put together a sample of glues for him to experiment with.

    Many thanks in advance.

  6. If you cannot visit him in person, Rod is usually present at the BVMA makers exhibition London, and the RNCM exhibition in Manchester. He usually takes quite a few instruments with him.

    Thank you very much for your reply, Dave. I suppose I could visit him either at his workshop or at one of the exhibitions. The reason why I don't want to do that is that I am not in the market to buy an instrument, not at the moment at least. I am just trying to understand and define for myself why the prices for contemporary fine instruments vary so much. Prices start somewhere near £10K and go up to £20K. And you find a lot of instruments by contemporary makers below or above these prices. Is it demand that shapes the prices, the craftsmanship or quality of tone? I have not been able to answer the question by looking at websites and boards. Most of the makers who have a website have a nice list of endorsements. But once you start to compare the prices with waiting lists and endorsements the confusion sets in, for me at least. I picked Ward for my question because he publishes the prices for his instruments on his website and he does not seem to have a waiting list. I know that price and waiting list are not indicative of an instrument's tonal qualities but wonder what defines prices that you come across.

    I know my question may sound a bit confusing, but I guess it just reflects my own state of mind :). Maybe someone with more experience can shed some light.

  7. Hello,

    I am new to this forum, reading the messages out of interest in lutherie. I had asked a question about contemporary British makers over at the ICS cello forums and someone pointed out that I might get more replies here. Reading through the old posts I found most of the information I needed. But there remains one British luthier I have never been able to find out more about than his own website: Roderick Ward. Without wanting to put him on the spot I would be interested to know what people think of his instruments? Have you played one do you own one? What do you think about the sound and craftsmanship of his instruments?

    Thanks in advance.