• Content count

  • Joined

  • Last visited

About TimRobinson

  • Rank

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location

Recent Profile Visitors

9813 profile views
  1. Fiddles shmiddles! Look what we made today!

    Gee, that's a big pizza oven. Tim
  2. In terms of secondary sources for the project I guess you've read Beament's The Violin Explained: https://global.oup.com/academic/product/the-violin-explained-9780198167396?cc=au&lang=en& ? The sources in it would also be useful to explore. Regards, Tim
  3. I suspect you don't sail
  4. As one who is returning to sailing after 50 years, is the difference between power tools and human power analogous to the difference between power boats and yachts? Both will get you there, but in one it is about the journey. Tim
  5. Varnish

    What do you hear if you are colour blind? Tim (My head hurts)
  6. Cheapish tonewood places

    Possibly some of us amateurs (I'm assuming that includes you, a thousand apologies if it doesn't) might get together and do a bulk(ish) order. Hopefully there might be economies of scale in shipping. Some years ago when the AUD was strong against the EURO I bought enough sets to last me a bit. My making has slowed in the last few years but as soon as I can give up the full time work lark it will return. Tim
  7. Merry Christmas

    Belated season's greetings from somewhere Christmas is as it should be - not freezing cold :-) Saw this at the beach yesterday, brilliantly combined different traditions: Best wishes to all. Tim
  8. Minimum size plane for making centre joints

    I certainly had trouble with my first attempts. I developed an unhealthy interest in old planes and other tools. One that I bought, an Oz clone of a Stanley 6, is brilliant for centre joints. I hold the two halves in a vice and a few passes gives me a really great joint. Of course, as said above, the blade needs to be bloody sharp. I think the lesson is a well set up plane with a very sharp blade. You do not need to spend a squillion dollars on the plane - unless you really want to and SWMBO/HWMBO doesn't find out. Good luck. Tim
  9. Violin makers in Vietnam

    I'm afraid I have no more information and have not been to Vietnam since the 2007/8 trip. I'm not in the US (in Oz) so I don't know if there is a way to contact him from the US. I see from my 2007 post I had an email address. I think that is long gone, sadly. Regards, Tim
  10. John Devereux Violins

    It's more than quite good :-), even allowing for my bias having given minor assistance and lots of encouragement to Alan during its writing and production, I think it stands as a significant piece of historical writing (not to mention the superb photos). Tim
  11. John Devereux Violins

    You must buy this: https://abcviolins.com.au/book.html Tim
  12. "Vuillaume a Paris" Violin ID?

    Really interesting story and shows the stark distinction between conservation and restoration. Given the history of the instrument I would have gone for conservation on this, which would have meant leaving the nails and doing very little to it other than a light clean. I guess there are no photos of the original owner with it? Might I suggest that the story with as many names and dates as possible be documented and kept with it. Don't forget to include who you are and your connection with it. Regards, Tim
  13. Original Baroque Fingerboards

    That's really perceptive and makes much more sense than what I thought I was seeing. I will do the same next time. Tim
  14. Original Baroque Fingerboards

    I'm interested in what to me seems a small amount of glue used to adhere the fingerboard to the neck in the photo below. It would have made removal easier, could that have been the motive? Regards, Tim Edit: Also just noticed what looks like a nail hole. Used for securing the blank during shaping?
  15. Secrets in the wood (Stradivari's maple)

    I'm very hesitant to enter into this discussion, I have no basis to do so and anything I say should best be ignored. However, I wondered if there has been any examination of the run-of-the-mill instruments made at the same time as the greats? Not everyone was a prince or a Pope and so could not afford a great Cremona. If there was a treatment for the wood, did the cheapjacks use it? If not, why not (other than it added to the cost of making). Were there el cheapo makers in Cremona at the time of the big names? Would anything be learned by comparing 300 year old ordinary, if they have survived, instruments with those that cost many times more when they were all new. As I say, ignore these ramblings if they make no sense. Tim