DoorMouse

Members
  • Content Count

    353
  • Joined

  • Last visited

About DoorMouse

  • Rank
    Senior Member

Profile Information

  • Gender
    Not Telling
  • Location
    .Baltimore

Recent Profile Visitors

2432 profile views
  1. There was a recent price drop so I decided to try one of these out. This is after just a few minutes with it.. With more practice I’d feel comfortable taking off more but as-is I feel like I’ve saved my hands from some amount of fatigue. I imagine these would be great for hogging out larger instruments.
  2. I’ve skipped a few steps here but this is after inlaying the purfling, carving the channel, and lots of scraping. I’m happy that a knot showed up to disrupt the uniformity! I should add that the black tool you see at the top left is a balsa stripper. You can set the width and depth of the blade for scoring or making strips. I find it useful for starting the platform around the edge.
  3. Here’s a progression of the back.. outline roughed out establishing edge height and plate depth Establishing arches Smoothing with a toothed thumbplane Scraping out tool marks Establishing outline/locating pins Routing purfling channel
  4. I meant to say that it doesn't have the fragility you can achieve with an unlimed varnish. It doesn't chip off easily with a fingernail.
  5. Just rough cut a back I’ve been excited about carving for a PG model strad.. ..and here’s some freshly jarred 4:1 varnish with lots of turps. I ended up thinning down the last batch every coat so I’m aiming for this one to be brushable straight from the jar.
  6. In my experience liming makes a tough varnish that wears very little. Not ideal for antiquing.
  7. Thanks, this is my 11th attempt. I'm starting to get pretty consistent results with how they sound but I recognize that there's plenty of room for improvement all around. If you see any glaring issues, problem areas, or suggestions, I'd love to hear it!
  8. I’m muting the strings and tapping the top and sides of the bridge with a rubber mallet. I tried glissando’s and the peaks seem more defined with the tapping.
  9. Here’s the DG Baltic model all finished up. I didn’t use any pigments with this one. Just several thin layers of varnish. My biggest issue was with laying on too thick of a casein sealer coat. It caused opacity problems and looks whitish where I’ve done antiquing. Lesson learned I’m still messing with the setup but so far it’s a blast to play. The spectrum graph shows peaks at 284, 449, and 537 which seems to be about right for a DG model according to the data at platetuning.org
  10. There are some nice photos of the scroll in the following thread if anyone else is interested..
  11. Does anyone have any leads on tracking down photos of the Messeas cello? I’m only aware of the two on Tarisio and I’d love to have a gander at the scroll.
  12. Plate thicknesses courtesy of The Strad.. There's another map in the following pdf.. http://bormanviolins.com/articles/The_Strad_Vieuxtemps.pdf
  13. I have a 1909 Robert Glier Strad model that sounds exceptional to my ears. It's an instrument that responds to bow speed rather than pressure and is full of color. I've wondered if I happened upon an especially nice sounding Glier. Based on the auction prices you wouldn't think his instruments would sound so good.
  14. I'd love to see a photo of this scroll if you can manage it.
  15. This may be obvious but I'll throw it out there anyway. I've found that a benchtop planer isn't much use on it's own without a jointer or some other way of flattening a side to start with. Otherwise a warped board will just become a thinner warped board. A jointer seems like a much more useful tool to have on hand in a violin shop.