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canofspam123

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Posts posted by canofspam123

  1. 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.

  2. 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.

  3. 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.

  4. 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

  5. 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.

  6. I just saw him in concert today in Minneapolis MN. What a great violin. Very clear and sweet. You could close your eyes and it was like it was singing over all the other instruments but not in just a loud or overbearing sort of way. Just great. Any info on the web about it? Thanks for the help. Fred

  7. There are different methods to use when sharpening a plane or chisel. I agree with Bud completely about the backs must be flat and polished to a mirror shine. If it has pitting, it will take you a good day to remove them, but its essential.

    On that note, I use the scary sharp method which is just quality metal sandpaper glued to plate glass in several grades. This system with a honing jig has worked for me alot better than stone. I've use arkansaw and ceramic and they dont compete with the glass and paper.

    Different strokes for different folks. Ha, ha, ha! :-)

    Fred

  8. Bud hit it on the head. I'm still setting up my shop. Here is the best thing to do. Find a violin maker that will let you in his shop and help you. Otherwise the second best thing to do is find a skilled wood worker who uses handtools alot.

    I went to plane my wood for the top and back. Well, I found out real fast that my plane was to short, my bench not strong and heavy enough to resist hopping around, and my vise was junk and wouldn't hold well. I spent two months building a decent bench, installing a good vise and finding out I didnt know how to sharpen a plane blade to save my life. Thats just basic stuff. Just learning how to tune and sharpen the tools is expensive and hard work. Someone to help is not a must, but very, very helpful.

    Fred "who almost cut his thumb off carving his first scroll" Whittenbeger

    Oh, did I mention someone to teach you shop safety is a "must!"

  9. I once had an old late 1800's german factory violin with Paganini stamped on the inside.

    I think the these mass produced instruments have the stamp to boost sales, since Paganini was a famous player. It could be junk, or it could be ok. I dont think the stamp really means anything. Fred

  10. Groan........

    Here is a post I wish wouldnt have come back up. When I posted it, I had never had any work done before, nor had I done any work myself. After fitting violin pegs a few time, I wouldn't charge anything less than my luthier did. It is a very detailed thing to do. It is "so" easy to screw it up. I'm sorry I every put this post up. I did like most of the comments however. Fred

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