BarryD

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About BarryD

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    Enthusiast

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    http://www.dudleyviolins.com
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  • Gender
    Male
  • Location
    Monroe, GA
  • Interests
    Photography, Travel, Dogs

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  1. PegHeds....

    I have been doing business with Chuck for years. He is sometimes rushed but I have found him to be a terrific vendor and the quality of his products excellent. At one time I offered the PegHeds as an option but since everyone wanted them I just made them standard on my violins. Everybody has a bad day sometimes...maybe you caught him on a bad day?
  2. I agree completely. Experience has taught most of us that never dig your heels in too deep because there is always an exception to the rule. The purpose of the question was to find out if there was a simple method to test how any given finish changes/changed the sound. Whether the change is good or bad is debatable. I can tell by the way this thread is going the answer to my question is no...You just have to try it for yourself.
  3. Acoustic transparency is when the finish has no effect on the sound. of course NO effect is probably an impossibility but that is what is meant by the term. IMO you can't say that a violin in the white is always at it's best. Sometime the finish can add a little "something" but thin is almost always best. There is a difference between an "oil" finish and an oil varnish finish. Examples of Oil is Tung oil, Danish oil, True oil. You all are familiar with Oil varnish. Jezzupe, thanks for that tip, that's what I was looking for.
  4. are there any methods for testing a finish for acoustic transparency that can be used in a luthiers shop? I recently had a very fine and expensive classical guitar come into the shop for repair of a crack in the top. The sound this guitar produces is very clear, fast and strong. The finish is also very beautiful. I am not going to tell the type finish to avoid influencing your responses. Also just for background, through the years I have used French Polish, oil varnish, sprayed finish, shellac, polyu and probably some others I can't remember. I say this only to say I have had experience with all these but have never read any methods to actually test finishes. There may not be a way to test other than experience. I am always curious about finish methods. Varnish/finish is one of the most worrisome steps in making an instrument for me. Thanks
  5. Saving the mold

    I think I originally got this idea from David Burgess??? glue in the back linings, glue the back on to hld the shape. Then glue in the front linings and then the top. That how I do it anyway.
  6. Michael Darnton...

    I see Michael posting from time to time on a photo forum I belong
  7. Another naive question about bassbar

    I have to agree. You as a maker will have a sound and "feel" that to your mind's eye and ear is "right". These small elements are the things that separate one makers work from another...how the maker "hears" the feedback from the wood as it violin is made. in an effort to to answer the question for the OP, start withsome measurements from another maker you respect and use that until you feel confident to make changes and understand how the difference changed the sound. Sometimes you make discoveries from a mistake...just my opinion. Opinions are like a$$ holes everybody has one and they usually stink!
  8. Violin shipping case or box

    I leave the bridge up and in place with pieces of foam rubber in front and behind the bridge. I let the foam extend under the fingerboard in the front and under the tailpiece in the rear. I de-tune about 1/2 step. I works for me but iwould go with something that doesn't make you lose sleep till you hear it has arrived safely.
  9. Violin shipping case or box

    I ship my violins all over the world and I sell my violins with a hardshell case. First I place a thick layer of crumpled newspaper in the bottom of the box, Crumpled news paper has a lot of cushion and when it is placed snugly around the violin it will not shift like Styrofoam peanuts. Then I wrap the case in bubble wrap then place it on top of the layer of crumpled newspaper. The I crumple more newspaper to go arpund the edges and the ends, making sure to make the corners tight. It seems boxes always get dropped on the corners. Then I put a layer of crumpled newspaper on top of the case and close up the box and seal it with packing tape. I want the box the be SLIGHTLY over stuffed so when I tape it shut it compacts the newspaper a bit and holds everything securely. Knock on wood, With over a 100 violins shipped I have never had violin damaged in shipping. Hope this helps. p.s. Using newspaper is a way of getting another use from the resource before it goes to the landfill and it is free.
  10. switching to the back peg for viola C string????

    I agree with David and Jerry. I primarily make 5 string violins and always place the "C" on the last peg on the bass side. It helps on some but not all. I have never noticed that it has "hurt" the sound...it also decreases the break angle from the nut to the peg and the side of the pegbox. But that just how I do it.
  11. Are these F holes familiar to you?

    There are not photos....
  12. Wood on the back other than Maplewood?

    I have used Cocbolo a couple of time and it is excellent!
  13. A new and exciting idea

    Where did you get that tool? I've been using the old Stew Mac version that I modified but would like to try one like the one you show in the photo.
  14. Joan Maruszczak information

    I had a "Joan Maruszczak" 1956 violin come into the shop to be brought back to life. It was a fairly nice violin and sounded pretty good when all the popped seams were reglued, strings and a set up. His great grandson has the violin and ask me if I could tell him anything about the maker. I did a google search and found one reference to one of his violins for sale at Psariano's Violins. Any information would be appreciated.
  15. Thank you for sharing this crack clamp technique

    Thanks for great ideas!