canofspam123

You have no idea what a forklift can do to the body of a full size bass. Fred

I don't know about lovers, but as far as this tread goes, I think we've proved were bad joke tellers with a bit of perverted humor. Too much time spent alone I suppose. Fred : )

Welcome to the intoxication world of planes. I'm not kidding, alot of tool collectors love this stuff. However, I hate to be the bearer of bad news, but it sounds like you bought one of those poorley made clunkers from india or china. I would chalk it up to experience and buy a used stanley #6 fore plane on ebay from a good rated seller. The ones with stanley in orange are very common and pretty decent. Use a search engine and look up plane tuning. This well help you alot in getting it working well. An upgrade blade isn't really needed if your just using it on small wood like a violin but you can try them. Hock is really good. I love mine. Hope this helps. Fred who tried to join his first plates with a smoother.

Where would one get an autograph of Paganini? Fred

Did you do art for Floyd's the Wall? (g) Fred

I've just read Fultons Terpentine Varnish book for the second time and am still confused. He has a chapter on applying a sealer on the front but not the maple. He said that he "wants" the oil to soak into the maple. Then he uses less coats of varnish on the front Than the maple. Any thoughts on this? I'm only familar with the seal and varnish the front and maple the same way method. Oh, and he uses wax and thicken tupentine for the ground on the front. Strange.

If you see him again, could you encourage him to republish his two volume turpentine varnish book? I just bought it from Montagana for $60.00. Really hard to get. Thanks! Fred

Here is a question for the people earning a living at making and repairing. My goal is to be a maker. Thats it. I have a ten year plan on acomplishing this and it keeps getting longer. I've been thinking about getting training in repair. Here is the question. Would I end up repairing for the rest of my life and never be a full time maker? Now, I know it would be dependent on me, but I live in Minneapolis with alot of graduates from the big named schools. Seems like most of them, not all, become repair and restoration experts, but with little output of new instruments. I'm not sure if its economics, experience or both. Any input is appreciated.

Ok, I'm no expert and I don't have alot of facts to offer but here is an experience I had last week. In Minneapolis, there is the Cremona show of modern makers best. Several professional players were trying out the new ones. After two hours of waiting, they brought out the GB Gaudigini. When it was played, even someone at my level could tell the tone apart from any of the new ones. Musicians came in from the hall to find out what that great instrument was. It just seemed to me that the new makers in Cremona weren't achiving the same quality in tone of the old guys. Keep in mind I'm not talking about projection or anything, although the Gaudigini did fill the room with sound. Fred

I'm planning on going in April for the two first weeks. Anyone go to this? Any opinions? Fred

Is the Strad poster Del Gesu the same instrament Kreisler played on the Naxos historical series with the blue covers? The fingerboard didnt know. Thanks, Fred

I just got volume one of the Historical cd set by Naxos. The Blue covered one with Kreisler's picture in black and white. Does anyone know if he is playing the Kreisler Del Gesu thats at the library of congress? Thanks for the help. Fred

This is pretty neat! http://www.easthamptonviolin.com/lathe.htm

The reason I'm asking, is that the Art of Violin Making uses a special cutter, but I'm having trouble locating any in the usa. Anyone have a lead on buying one, making one, or an alternative method? Thanks, Fred

Step one: gently rub volcanic ash into the wood with the grain. Brush off any residue that didn't go into the pours of the wood. Step two: Blend an eggwhite, one teaspoon of whole milk and two tablespoons of pure honey (organic with no preservatives). Step three: Thin the mixture to a water like consistency with 100 proof grain alcohol. Let set overnight covered. Step four: apply the mixture with a fine sable brush against the grain. While the first coat is still damp, apply a second coat. Step five: while the second coat is still wet, ignite with a clear orange flame from a smokeless candle. Use appropriate fire proof clothing for this stage. Caution, do not do this indoors or outside. The flame will engulf the instrument and fuse the sugar and ash to the wood fibers. Do not let blacken! This in not for cajun music. Put out the flame with pure, screened, white sand. This is how the masters did it in Italy.