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About DarylG

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  1. DarylG

    Guy Harrison's bench

    Congrats Guy! Beautiful work!
  2. DarylG

    Michael Köberling`s bench

    Hi Michael! It's a very nice violin and difficult to understand why it wouldn't get past the first round. Cheers,
  3. DarylG

    Henry Strobel, Sr.

    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.
  4. DarylG

    E String scale not in tune?

    Same thing happens to me, except it's on all the strings!
  5. DarylG

    different gram strength hide glue for center joint?

    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!
  6. DarylG

    different gram strength hide glue for center joint?

    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
  7. DarylG

    Carbon fiber violins

    I've not seen them but Glasser is making carbon composite violins now.
  8. DarylG

    Integral bassbars

    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.
  9. DarylG

    Integral bassbars

    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!
  10. DarylG

    Integral bassbars

    Imagine a straight line projected between each end of the top, wouldn't the height of the arching be greater in the violin with the ribs tapered in the upper bout?
  11. DarylG

    Integral bassbars

    Thanks David. It's oddly reassuring to know that you still aren't sure about everything. I'm not sure that I'm really sure about anything! Hi Davide! Yes, I think this is the most logical explanation for why Stradivari tapered the upper bouts. I'm just not convinced it works. In my mind, by tapering the upper bouts you are bending the long arch under the fingerboard rounder. This area already rises when you add string tension and further distorts over the long term, so why make it worse? I would think that the best way to counter the compressive forces in the top would be with it in a flat plane, not bent rounder. Shouldn't priority be given to the shape the arch will distort to, rather than what the ribs will distort to? But I could be wrong about all of this. Cheers,
  12. DarylG

    Integral bassbars

    Hi David! Do you think tapering the ribs from the upper corner blocks (essentially springing the top) has any structural advantage over a flat rib structure? Correct me if I'm wrong, but it seems to me that bending the top over tapered ribs is just bending the long arch further in the direction that it wants to distort.
  13. Photos of the violins are on the Metzler website. http://metzlerviolins.com/instruments-violins
  14. I hear the rattling too.
  15. DarylG

    Peter KG's Bench

    They wouldn't be my choice of clamping arrangements but that's not to say they don't work for you.