DarylG

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About DarylG

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    http://www.griffithviolins.com
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  1. Claudio Rampini described a "quick" method for making linoxyn a while back. Here is the link: https://maestronet.com/forum/index.php?/topic/317231-time-to-make-varnish/
  2. The end of the neck that faces the bridge. I also put a small chamfer on the bottom edge of this face to give a place for excess glue to go.
  3. In addition to the good advice already given, don't forget to glue size the end grain of the heel.
  4. Davide Sora has some videos on youtube that show him varnishing with spirit varnish. If you haven't already, I'd suggest checking them out. Oil varnish will be easier to apply in even coats but has its own challenges. Unfortunately, there are no easy roads to varnish happiness.
  5. Agreed, but I do think that it's fairly plain to see that the soundpost area of the top is much lighter than the wear areas in the upper and lower bouts. I think there can be quite a lot of color on top of the wood in the "bare" areas of old violins (and antiqued new ones). Just my two cents.
  6. Christoph Gotting has a nice photograph of the Gibson Strad during restoration on his website that I think highlights what David is saying. http://www.gotting-violins.com/goetting-gibson-huberman.php
  7. Hi Michael! It's a very nice violin and difficult to understand why it wouldn't get past the first round. Cheers,
  8. I started making my first violin using his books back when I was in college. That was the beginning of what would become a life long passion for me. Rest in peace Mr. Strobel.
  9. Same thing happens to me, except it's on all the strings!
  10. I've been using the method David Burgess posted above for violin plates and it works really well. However, I cut the ends of the wedges flush with the plate and use 2 F-clamps instead. After gluing, the wedges allow me to clamp the plate in my vise and flatten the bottom. Also, before gluing I run the halves thru the bandsaw so that the wedges are cut parallel with the bottom face. This allows the plate to sit flat on the workbench after gluing which is nice when sawing and shaping the outline. Thanks David!
  11. Hi all! There is a guy on youtube that has tested a bunch of different glues, including some hide glues. He doesn't mention the glue to water ratios he used but nonetheless I found it quite interesting. Link to the results video: https://youtu.be/ZoaTZY5cSQE Link to a spreadsheet of the raw data. If you click the tabs at the bottom it will have the results sorted for the different tests. https://docs.google.com/spreadsheets/d/1GAZrhrtJPi8-iqPRVfqgOgf7RTg8Vqmen6OKJ4Ae6_I/edit?usp=sharing
  12. I've not seen them but Glasser is making carbon composite violins now.
  13. Today I did an experiment as suggested by David. Though instead of using a bassbar frame I used a surface plate so I could take precise measurements. The top is suspended above the surface plate on 2.0 mm thick wooden spacers at each block. The spacers have double-sided tape on both sides except for the spacer at the neck block, so it can be removed. I marked three spots on the top to measure. The first and second spots are positioned at the cross arch locations in the upper bout and the third is at the middle of the plate. I measured the height with all the spacers in place and then removed the spacer at the neck block and pressed the edge down flat to measure the change. As you would expect, when you press the edge down the arching also goes down and the indicator reads lower. But if you take those measurements and add the change in the reference plane then the arching goes up! (well mostly lol). If that doesn't make sense then try imagining a straight edge placed on the neck and end blocks of a flat rib surface. All the blocks are in the same plane. Now if you taper the upper bout ribs down 2 mm then the straight edge between the neck and end blocks will be lower compared to the corner blocks. It seems to me that since the compressive forces are coming from the end blocks that this should be the reference plane to measure from. Anyway, here are the results. Direct readings: Location 1 - arching went down 1.2 mm Location 2 - down 0.9 mm Middle - down 0.8 mm When factoring in the change in reference plane: Location 1 - down 0.2 mm Location 2 - up 0.6 mm Middle - up 0.3 mm This was just a quick and dirty test and I'm sure things will be different when the top is bent over a flexible body and with string tension is applied. I might try to test that in the future but for now I remain skeptical about the merits of tapering the upper ribs.
  14. Thanks David! For the long arch wouldn't a line connecting the glue surface at either endblock be the reference plane? Isn't that where the compressive forces are placed on the top? The way I was thinking about it was that tapering the upper bout ribs would be the same as having the top on a flat surface with a long triangle shaped shim underneath that peaks at the upper corner and tapers to nothing at the ends. When I imagine the top sitting on a flat surface and being compressed from the ends, having the top bent over that shim underneath doesn't make sense to me. But perhaps I'm completely wrong!