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PicknBow's Achievements

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  1. I noticed the book "Violin Varnishes" is listed on ebay. i already have a copy but at .99 it might be a good buy. http://www.ebay.com/itm/190646791443?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649#ht_398wt_77
  2. There is a copy on ebay that might be worth a look at. Seems like I paid well over a hundred for mine years ago.
  3. How about this, "If you can make a crummy fiddle by hand, you can make lots of crummy fiddles with a carving machine"
  4. I don't have my book anymore but I simply made the tool so when the blade was up against the neck block, the handle comfortably sticks out beyond the saddle/endpin area. Works pretty well on over glued blocks in some cases.
  5. On most of the violins I have worked on, a firecracker would have been a good way to go.
  6. A long wood handle with a blade mounted in the end (Weishaar's book) sure helps. When I first saw this I immediately made one and many times it is just the right tool.
  7. PicknBow


    A human can be a king, an Empreor, and anything else he wants to be except he can't be God. It says so many times in The Bible. Read Isaiah.
  8. It is amazing how close just about any craftsman can estimate dimensions and even more so, determine a "thicker than" or "thinner than" relationships by eye. I always thought that traditional violin makers started at the edges with a "suitable" thickness" (visually) then based the rest of the plate thickness as being thicker or thinner by using a simple "U" shaped, fixed caliper with an opening that was slightly larger than the thickest dimension of the plate, by looking for the gap that that appears when the caliper is positioned in different locations. Thickness variations show up as a larger or smaller gap-not as a decimal out to three or four places. This simple type of caliper (could be made from a coat hanger) can be used to determine thickness variations on existing instruments if one learns to trust their eye. It is funny when you think of all the amateur makers that have bought expensive calipers that can read out to three or four decimals and still can't make a decent sounding instrument. Mathew's caliper looks more than adequate and could be used by setting it 1/8" more open at a place where plate thickness is good, then move it around looking for the same 1/8" clearance more or less depending on the desired plate thickness or relationship.
  9. It sounded like the Strad was rejecting the player. I wonder if Tommy Jarrel ever elaborated on what the ideal violin should sound like. Maybe the copper was a quick fix on a wore out fingerboard.
  10. Yes, John Jsu would have been worth looking up. Thanks for mentioning that he has moved. I will try to visit him in his new location when I travel to New York later this month.
  11. String family instruments typically have a compound radius. Picture a 3" round shaft with strings running down the length of it 1/4" apart. If you spread the strings at one end they start to hit the cylinder very quickly. Picture a fingerboard as a long slice out if a cone instead of a tapered slice from a cylinder. In addition to that, the bevel found on upright bass and cello fingerboards can be looked upon as a separate fingerboard attached at a different angle to the rest of the fingerboard, permitting the larger treble side to be of a greater radius (flatter).
  12. It is possible that this instrument was intended as a viola.
  13. Oded, wouldn't shortening the string length by moving the bridge toward fingerboard as well as tailpiece lower tension? Just curious.
  14. It appears that someone simply used the fiddle for an ash tray.
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