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Trenchworker

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About Trenchworker

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  1. Good suggestion, David. I was told this also by a new violin-school graduate who married a physician. The suggestion was way too late for me, but perhaps others will take heed.
  2. David and I have been through this topic before. I believe that most graduates of violin-making school intend to be "professional violin makers" , defined typically as those who can support themselves and their families by their violin-making. Most will likely find that they can not. This does not mean they are "hobbyists". We need a new term for struggling makers, young or old, who will need to find supplemental means to support themselves while they continue put most of their heart and energies into making, repairing, or restoring, instruments. Perhaps "part-time professional"?
  3. I can not explain the draw of violin-making, where one takes a piece of nature and with one's own hands, forms the source of music. Somewhat akin to farming, and motherhood.
  4. Thank you, Jim, I will certainly try that. I should have come to the MN forum before working with the unknown wood, instead of after. It's really hard to teach an old dog new tricks.
  5. I agree with you on general principles, Conor, but work horse instruments used in public school orchestras, as this one is, are sometimes in great need of sprucing up (no pun intended) --- the kids don't want to play on an "ugly" instrument. And it seems to follow that the "uglier" an instrument is perceived, the rougher it is handled by the student.
  6. Wow, Luis, this gallery is very much appreciated, not just for my current case, but for education about wood in general. Thanks also to all for the postings and photos.
  7. Addie, thanks for posting the two photos (I assume the first one is cherry and the 2nd one is paulownia). I can certainly see the differences between the two. The tighter grain of the Japanese violin seems to favor calling it cherry, but I want to check more patterns of maple, too. Thanks to all who responded.
  8. By the way, ribs on that Japanese violin are maple, top is spruce. No trouble with revarnishing.
  9. Made-in-Japan (not Suzuki) half-size violin came in for repair. Violin back is of wood unknown to me. See attached photo. Search of web photos suggests Paulawnia (kiri) wood, used for items including Japanese traditional stringed instrument (koto). Does someone know what kind of wood it is? Original finish was in very bad shape, so I stripped it with alcohol. Now, it doesn't like any other varnish but clear spirit. Everything else turns out splotchy. Thank you for any suggestions.
  10. Thank you for your clear definition. Certainly, if a luthier could "fix any issues", sooner or later, Voila! there would be a violin. And if it sounds good to the player, you would be right --- no point of worrying!
  11. You said it yourself: "As long as it's in good shape...". Can you define good shape for a violin? Is it enough to have the general shape of a violin?
  12. The saddle isn't sitting in the right place.
  13. Honesty (sometimes brutal, mostly not) is a hallmark of this site. To Tinker1, step away, take a deep breath, or shed a few tears, then come back. You'll be glad you did, and when you are no longer a "newbie", remember your first time and be gentle with the next innocent soul.
  14. The kid who witnessed the swinging act may claim ignorance; the matter has not been resolved yet. In any case, if the parents can not afford the replacement, that will end it. That does not change the fact that the instrument was sent to me for repair. If the instrument was a cheap import I would not have been so quick to accept it. But it was an old violin (had been in the school system for decades), and the orchestral director treasured it for its sound. What else could I do but try? As to your adage, how does one determine if a specific deed is "good?" I can think of several viewpoints where the deed would not be considered "good".
  15. Clearsky's stand-up knife rack, and others like it, would not do well in earth-quake country.