not telling

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  1. I won't give anyone the link to... Google. I spent an hour on this thing, easy. Don't do that, but you should try it. AI can make random notes kind of similar to actual JS Bach with correct harmony application. The world is amazing. Just my opinions though, and I don't claim to know all of the things about what Bach sounds like. People with PhD-level or any level of counterpoint knowledge feel free to educate me. I think the app is fun though. Post your "composition" here, if you want.
  2. Ah ha! I knew I couldn't have been the only person to discover this. Up there it's probably a way of life to dye traps, but I just got lucky in an inadvertently not artist product-focused internet search. I had no idea. It looks fantastic. It doesn't smell chemically, does it? I got the more reddish trap dye because our chips always looked a bit pale-reddish until in solution for a bit and cooking. I'll post photos too if this is still going...or even if it isn't. This was a timely thread for me too, as I saw the Natural Pigments site weeks ago and was dreading the search for a new product. This happens constantly with violin making tools and ingredients. Modern times and whatever. Edit: the product I ordered was actually this: https://en.m.wikipedia.org/wiki/Quebracho_tree I know it's not possible that this was in use in 16th c. Cremona, but it's a beautiful natural product. Chock full of tannins. And about $2/lb. Several tons of the product was bought from Argentina about 10 years ago, which explains the price to the consumer. The folks at Murray's are almost out, what would we lose by trying it? Call them up...(304) 275-8727.
  3. Why can't we use trap dye? It looks like it's the same thing. It is so inexpensive though. Also, black walnut hull dye is $4/lb. I'm sure as $#!+ gonna find out if it's the same as what we always used, for that price. Everything is marketing...and markup...y'know? Note: some products marketed as logwood dye probably are petroleum products according to a hunting forum I visited. Of course!...it couldn't be that easy! But sometimes it is...
  4. As for the actual OP question, I think it depends on whether you need the Foredom tool or if you can get by with minimal tools if you had to. It's kind of about your mindset. Why do you need a "laboratory"? The more you can do with less, the better. Less tools, less money thrown at superfluous technology. In the future it will be obvious who needed an easy way and who didn't. It'll all come out in the wash, as they used to say. More money for tools and information gathering can't be bad unless you give in to any of the many ways modern makers "could" cut corners (so to speak). I can't argue that the old ways are better, I more just think it's weird to bother making something like a violin, if you're going to half ass it or look for ways to not have to fuss with handwork or even strive for superior workmanship. The internet gives so much information for free. I can think of one award-winning maker who won because he learned the trade on the internet, probably here. It's possible. You could learn violin making on your lunch break at your "real" job, if you're driven and resourceful and discerning. But great if you can travel around and sweep the shop floors for luthiers you admire. It's an advantage. Are violin makers building future cultural artifacts of some eventually lost age of technology revolution?? Of course. It would be interesting to know what they'll say about the lot of you in 200 years.
  5. not telling

    The Strad

    Hold on, who just added raw, or washed linseed oil to their varnish? Nicholas Gilles? I don't believe that's a thing. I don't know anyone who believes that's a thing. Yet every piece of wood he touches turns into a gold medal, so he can't be wrong. I mean that without sarcasm. That is interesting information that I have never seen or heard of. Barnes and Noble quit stocking copies of the Strad, and a subscription seems like a major commitment, really. The content has been inconsistent for awhile now, from what I can tell. But then I miss interesting articles that come along occasionally from esteemed contributors. I think a lot of people are at the same impasse with The Strad. Oh well.
  6. Oh wow...that was a sober post? That's a bit of a surprise. I enjoyed those posts anyway. The crab boat looks like it was an adventure, but who's that shifty-eyed guy in the T-shirt watching everyone else work?
  7. Fact! But it also disproportionately suits the sort of guy who always wanted to be the "loner, self-sufficient, stand-on-his-own-two-feet sort of guy", who has always been able to be that guy due to a large inheritance or trust fund.
  8. I love it when you drunk post. Never change.
  9. When my husband was a kid of 17 he worked on a replica wooden square rigged ship called the Lady Washington. During storms he was in the rigging. Dunked under water. All of that. Only he and the captain were man enough to sail to Neah Bay, Wa during a winter storm sometime in 1994 or 1995-everyone else vomiting their guts out, most of them old salty men. So there. Stop yer "violin" measuring contest. I too think it is really interesting that a lot of violin makers have a hobby of sailing, or a past of living and working on ships, etc.
  10. So many luthiers today only thought of making varnish because Magister was suddenly gone and there's nothing exactly like it. Remember when 90% of luthiers used the Koen Padding product? No? That's weird. Even I have been around that long. Now that most apparently make their own varnish many of those who do so act like that is the only valid way. Yet there is never a lack of hideous varnish problems on instruments posted here, on Facebook, etc., which could be largely avoided if people suck it up and admit that some other people dedicate their whole career to varnish materials and we could buy from them and gratefully let them know more about that. Yes, I have this opinion because I never made a varnish that did everything good. Melting amber proved difficult and dangerous. Books and research materials had conflicting information, and definitions of historical materials were confusing (boiled linseed oil?) Etc. I'm surprised no one hurt themselves making varnish yet. I didn't want to be the first. But also, I remember 10 years ago and I still don't see any problem with trusting varnish makers who only make varnish. Other than the obvious, ominous sandglass problem hanging over the life and work of the varnish makers and everyone, but that's not going away. May I offer the example of Guadagnini, whose varnish purportedly changed to match the regional varnish in every city he lived in? That's what Roger says, anyway, and if true it's good evidence for the varnish specialist. I am not getting to look at Guadagnini instruments from different periods, and if I could I likely wouldn't come up with the idea myself, so I don't know, but I am sure Roger knows.
  11. Varnish making and antiquing are skills that don't seem to have much to do with violin making. I don't mean to insult anyone who does everything, just the opposite... these are really almost mutually exclusive skillsets and great for you if you mastered everything. But imho It shouldn't matter where the varnish comes from just like it shouldn't matter whether or not antiquing is done. What matters is that the result is beautiful and functional and lasting. Varnish selection and application are part of violin making, varnish making doesn't have to be. Antiquing definitely doesn't have to be. But if you like to antique, or you like to make your varnish system, and/or customers like that stuff, great. Comparing someone who can't sharpen a gouge to someone who chooses not to become an expert in varnish chemistry isn't really fair. Arguably there were varnish experts 300 years ago in Cremona too, seperate professionals from the violin makers. Arguably. Not that I know or can argue, but there have been arguments made.