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About nesplin

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  • Birthday 08/19/1981

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  1. I'll second dastra being pretty good, and add Hirsh, sold by Lee Valley. They come with the worst finish ever on their edges, but when you get them into shape they work pretty good for their price.
  2. I am a total rookie hobby maker here, but I'd say go ahead and spring for a proper glue pot. I did a baby bottle warmer for a few years and find that my process got a lot calmer and more fun once I had a really good pot (hold heet). It takes a lot of guess work out of things. Also, get a few different sizes of palette knives for spatulas, and some bent neck syringes with small ends. Really though just experiment and work with the stuff and your intuition will build.
  3. So is it as simple as calling the foundation, telling them what you're able to do, and then having them send you an instrument or two at a time for the work? Thank you all for the info so far!
  4. My trouble is that I am out here in very rural Utah. In the older generations music is not a priority at all, and I didn't know about any of the above. With those recommendations though I'm sure I can find something that I and others can feel good about donating into, and that hopefully some of our players and students can benefit from. It is wonderful to hear that this is being addressed more than I thought, and that the entire range of players seems to be considered.
  5. I have never heard of the Virtu Foundation, and I am jazzed to see it being done so successfully. I'll point my efforts and the people I've spoken to on the matter in that direction. Thank you!
  6. I've been mulling recently on the occasional music student who is held back by their instrument. I've discounted a few instruments over the years for such students, but the issue is way bigger than my tiny operation. With that in mind I've been wondering about starting up a system of some sort that tries to work on this problem on a little bit bigger scale. I was thinking of something like a scholarship that tries to get better instruments into the hands of deserving players, maybe by letting them earn them with community service or some equivalent. Ideally one could imagine a syste
  7. On reading through this I keep thinking about the Haiku master Issa. He was getting pressure to enter a poetry contest that he didn't respect for artistic reasons. My understanding is that he considered it a snobby, or elitist, contest with too much analysis and not enough poetry. He finally entered (pardon the translation, but it is my favorite): Writing shit about new snow is not art
  8. You are absolutely correct. I should have been more clear and generalized less. What I meant was that my instruments are preferred to the $150 USD violins that often originate in the East are acquired from amazon or ebay by the locals here.
  9. Regarding price point, one has to consider one's niche. I am a purely hobby maker. I make instruments that are considered better than Chinese, but by no means for professional soloists. I sell them for what the customer can pay. It pays for my hobby, and a little extra, and gets hand made instruments into the hands of players who usually wouldn't get them. I like this niche. It includes a free hobby that I would usually have to pay for out of pocket, and is satisfying because my customers like my stuff and make music with it. Seems like the key might just be knowing one's place in th
  10. How about buy one violin from about half of the makers that hang out here, put them all in a climate controlled safe, and in a few hundred years your great ... great grandchildren will have at least a few Messiah equivalents...
  11. I have the sort of double convex Japanese Shaping Plane listed in the first picture of the above post and find that it works really well. One just has to be sure to maintain it well, and not lap too much off of the back of the steel or it won't adjust well. Still, it is a good tool.
  12. I'm curious too. I have one on back order and can hopefully provide a review in a month or two.
  13. Thank you all for your comments and thoughts! Based on the above I think I will not be presenting the option to play it in the white. I played my first violin in the white and personally liked the experience, but I thought it ended up just replicating too much work for later instruments. This is just the first time I've built a commission, and wondered about it. I've been experimenting with the emotional attachment bit. I've been sending her carefully taken and carefully chosen photos of the work in progress, and she has stopped by the shop a few times to make decisions about minor v
  14. I'm making a viola for a local player. It is getting pretty close to being all put together and I wonder if it is a good idea to string it up and let the customer play it in the white. I could see that being significant to an excited customer, but they sound different once they are all varnished up. What are your thoughts and experiences?