Jump to content
Maestronet Forums

Muswell

Members
  • Posts

    696
  • Joined

  • Last visited

Everything posted by Muswell

  1. After I installed the new lamps I varnished at 5:30pm and didn't get up in the middle of the night to make my way to the workshop for a progress report , but at 8:30 the next day, when I hung the violin outside to take advantage of the sunshine we sometimes get here, I was pleased that the varnish seemed more cured than I expected and even bored my wife by telling her. I hope it wasn't confirmation bias that I had spent wisely. It would be interesting to know how the intensities of fluorescents and LEDs compare but I have a system which works well and uses less power. It's certainly running cooler.....but then I'm using 2/3 of the previous power.
  2. I have records of when I first built the box and discovered that you need more than the saucer of water recommended in some sources. Even after installing a wick system I had to switch off one of the tubes at times to keep RH above 30. Then we had a dry spell and I had to put in a fan to keep to RH up. I can't find the note of the new figures but it solved the problem. I know the LED set-up is better, but that is only because it is 100W v 144. I just thought the figures might be useful to anyone planning to use LEDs and wondering how much power they needed for drying and the effect on humidity and temperature.
  3. One of the 4ft tubes in my drying cabinet failed recently and because it was going to be qute a lot of trouble to get a replacement I decided to switch to LEDs, which I could get by mail order, My cabinet had four 4ft tubes, total 144W, a disco ball motor to rotate the violin, a small extract fan and a tray of water. I swapped the tubes for two 50W 395nm LED lamps from Amazon, one angled up from one side and the seond angled down from the other side and ran it last night. The humidity in the box this morning was 36% and the temperature 21.7C while ambient was 42% and 17.8C and the varnish was dry. My lamps were by Eleganted but I could see there were other brands which seemed identical apart from the labelling.
  4. Was that the player or a listener?
  5. I don't use a shoulder rest, I find them uncomforable. If you play without a shoulder rest you have to be aware of what you are trying to do and what the violin is trying to do, you can't just clamp down with your chin and shoulder, and to that end I played without a chinrest as well for a couple of years just for the physical experience. I think it would be hard to learn this if you are switching between using a rest and not. Shifting above 5th position is not a problem because the thumb sits under the neck. Shifting down from 5th doesn't seem to be a problem either, my thumb seems to do what it needs to. Anne-Sophie Mutter seems to manage OK and her neck doesn't look short
  6. That's a very good video. The bit from 3:20 says it all.
  7. I think you need to think about what kind of person she is. If it were me, and I had decided you were an honest person, I would want to have a frank discussion about it and then come to a decision together.
  8. Thanks for the advice. I was very impressed by the photos he posted and it was the news that he was selling up that spurred me into action.
  9. That looks very nice. I bought a selection of his products a short while ago when I read that he was trying to sell his business and am just about to start trials. He posted quite a lot of photos a few years back.
  10. 5. The tone is unchanged. The customer is happy because he or she believes it has been improved by this intervention.
  11. He's still in business....offering 30% discount.
  12. Roy Brooks was a very successful ( wealthy) London real estate agent in the 60s who was famed for his honest descriptions of what he was selling. For example “Wanted: Someone with taste, means and a stomach strong enough to buy this erstwhile house of ill-repute in Pimlico. It is untouched by the 20th century as far as conveniences for even the basic human decencies are concerned. Although it reeks of damp or worse, the plaster is coming off the walls and daylight peeps through a hole in the roof, it is still habitable judging by the bed of rags, fag ends and empty bottles in one corner. Plenty of scope for the socially aspiring to express their decorative taste and get their abode in The Glossy, and nothing to stop them putting Westminster on their notepaper. Comprises 10 rather unpleasant rooms with slimy back yard, 4,650 Freehold. Tarted up, these houses make 15,000.”
  13. I too align my pegs for comfort. After taking the string up to pitch I estimate the change of angle needed and the proportion of the circumference of the peg this represents then try to adjust the string in the hole by that much. With care I find it only takes one or two goes to get it close enough.
  14. My fingers aren't particularly thick but they are thick enough to make some passages difficult. I use examples like this to encourage me to find a fingering solution rather than a "topographic" one. I don't think a fraction of a mm increase in spacing at the nut would be a problem but then I don't think it would solve the sausage finger syndrome.
  15. Aren't they hardened steel, like the disposable saws?
  16. The Herdim 4 hole peg shaper comes with non-resharpenable blades as standard. They sell resharpenable blades separately. I gave up using mine and made a set from scrap wood and the 2" iron from an old wooden plane set close to 3 oclock so it works with a scraping action. They are quick to make and work perfectly, but you do have to take care setting up........and I don't have to make a living doing this. The great thing about using a plane iron is that it is easier to sharpen than the tiddly little blades.
  17. That's a rather reductive view of engineering. There are indeed engineers who excel at analysis and calculation, once it is clear what they should analyse. But there is a lot more to it than and in the particular field in which I worked, for example, you would find it hard to separate the work of the engineer and the architect, in the concept as well as the detail.
  18. I had a thickness gauge with flat tips, which was fine for guitars. When I started making violins I cut the heads off 2 small dome-headed screws and glued them on. The only snag is that it reduces the throat a bit. That means I can't measure the arch with it but I have a woodturner's caliper for rough measurements and then use a 300mm rule spaced 30mm off the bench and measure down from that.
  19. On classical guitar you will be playing chords, or holding chord positions, all the way up the fretboard. If the strings are further apart than they need to be then some stretches will be more difficult but they must be far enough apart to avoid fouling adjacent strings. However, where the strings are plucked they need to be far enough apart to make both the main finger strokes possible, which is likely why the spacing goes from circa 44 to circa 59 for scale length 650.
  20. Like the skills required for planing a plate joint freehand.
  21. Yes. I tried fish glue once when I was making guitars, using a go-bar deck, and thought it would be nice to have a bit more open time. Later, I wanted to remove the top and it was very difficult.
  22. I use a carbide burnisher, it was a bit spendy but worth every penny.
  23. I use turpentine to thin and err on the side of caution after a skin reaction to something a few years ago, and don't work with sticky varnish. Horses for courses.
×
×
  • Create New...