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    Alberta, Canada
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    violin playing, making, fly fishing, hunting, quading

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  1. Rich

    C-bout Purfling

    Does Hargrave use that method on both the spruce and the maple?....or just the spruce?
  2. I am just curious. Does anyone ever do a C-bout purfling in two pieces (joined at the center of the C-bout? I haven't done it that way but am curious as to whether it can be anything near OK.
  3. I am making a violin with Engelmann spruce top. Would it typically be made thicker than European spruce I have used before? It seems fairly soft and light. What would be the general thinking on this? Thanks, Rich
  4. Excuse my uncertainty. I see it both ways. Which is correct for a violin label. 1. Guarneri model violin............or........... 2. Guarnerius model violin? Thanks if you can clear this up for me.
  5. Thanks for the food for thought. I am thinking "patience" for awhile.
  6. The A and E volume balance is good. The violin has not been played much. More specifically, how would you adjust the bridge or post? I am not sure the post would make the difference on its own especially since the G string seems warm and good. Maybe a thicker, less dense post, but it is already fairly soft spruce. I have little experience in bridge adjustment. It is cut according to generally standard s parameters. I am thinking the answer could be there. Years ago I think I remember reading suggestions how moving the bottom of the post but not the top could affect the D string but I can't find that info anymore. It is interesting because there seems to be almost a reverse wolf tone on the g note on the D string. That particular pitch is the most unappealing. The same strings on one of my other violins is almost too warm and dark, so I am not inclined to follow that line of thought unless it is a bad string. How would you adjust the bridge?
  7. Old Wood 1700 has recommended a bulb. Go to the oldwood1700.com site and click on Ultraviolet Lamp. It shows a drawing of a light box along with their recommended bulb. The bulb is labeled "Actinic BL TL-D 18w/10 I use something similar.
  8. I am wondering if there is any adjustment that seems to help the D string such as bridge adjustment or post or anything in the setup. Especially the third finger on the D string seems tinny (but the G string is ok.) Any thots? Thanks
  9. So, I finished a violin and the G string sounds warm and the A and E sound good. The D string lacks warmth and seems not to have enough body. It is especially evident playing 3rd finger in first position (g pitch). I am wondering if there is something I should consider trying with the setup. What puzzles me is that the g is warmer, and the A and E are nicely bright. Ideas?
  10. I am about to start the Balsamic ground (Robson). I am guessing that I do not put it on the neck but want to be sure. Can anyone clarify this for me? Thanks,
  11. I am wondering what turpentine available in Canada to use with Joe Robson's Balsamic ground and varnish? What will work and what should I stay away from? Calgary is close enough to make a trip there. What is the criteria and which product will work? Thanks, Rich
  12. I looked closer at what I bought and it seems I purchased the standard oil varnish instead of the 1A. Is there considerable difference? I really want this violin to turn out lovely plus I have not put anything on the violin yet. I have experimented with the varnish on left-over scraps of from cutting out my plates on top of a light burnt sugar ground (which seems lighter now than when I first put it on). I can set this stuff aside and order something better, but am not sure I want to try to cook my own varnish. This has been a long time in the making with buying tools and researching each step. I am in Canada, so that might limit my choices. Seems likely problamatic to get Old Wood system here and I am not sure Joe Robson ships to Canada. I would like something with easy-to-follow steps. If there is significant quality differences, I could try the Joha 1A (now that I know I did not end up with what I thought I was getting). What would you do short of making your own?
  13. I am wondering the best way to darken Hammerl 1A red-brown varnish. I would like it a bit darker on the spruce especially to migrate away from a slight lean toward pink. Would it work to mix red-brown varnish with an equal amount of dark brown varnish? These are pre-mixed varnishes.
  14. If I use a burnt sugar stain on the white violin, can I use a gelatin sealer on top? Is it compatable?
  15. I have read several place that I should put paper on the little studs I will temporarily glue on to the top plate to aid in chalk fitting the bass bar. Can anyone tell me exactly where the paper goes? Does it go between the studs and plate, or between the studs and the bass bar? If between the stud and plate, it would have to be glued to both. Also, do you put the end grain of the stud down for a weaker glue joint? What type of paper?
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