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J.DiLisio's Achievements


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  1. My second attempt at a Cremonese style saddle and this time I made the angled cuts to keep it from sliding down
  2. I tried this on an instrument and it turned out more shrill sounding than I would have liked. I got the impression it might be helpful if you're working with a soft piece of spruce and wanted to harden/strengthen it.
  3. There's a video floating around of Burgess bending ribs using much more force than you would think necessary. Clamp that iron down and give it a try. I can attest to having much less cracking using this method.
  4. I can pull all my weight against it no problem.
  5. I use this one too. It's cheap but solid and works fine for violin/viola/uke,. not sure if it's tall enough for cello ribs.
  6. The antiquing on this one looks more natural than the previous violin,. also the varnish looks more transparent. Is it the same recipe?
  7. I believe ritardando is the acceptable term. I’ve had good results with gypsum as well. The benefit over plaster of paris is that there is no slaking or preparation involved. I’ve since moved on to using a thin casein sealer. I find that to be easier to apply and it allows you to oxidize the color further after sealing.
  8. I actually fried a few up this past week and they tasted just like peanuts. Not bad at all really.
  9. I had a surprise guest show up while carving out ff’s on the porch today. For those unfamiliar, this is a cicada that appears every 17 years on the east coast of the US. They aerate the lawn, make a lot of noise, and provide a tasty feast for the local wildlife.
  10. How hefty are we talking? It looks like the Tuscan Strad gets up to 3.1mm in the belly. Perhaps untouched? With gut strings that might be the closest we get to an original sounding Strad. I'm not sure but it may have gut on these recordings..
  11. Are there Strads that are known to have original grads? Vuillaume couldn't have gotten to them all.
  12. From the booklet.. "The remaining parts and fittings, however--e.g., the neck (connecting the scroll to the body), the fingerboard, the bridge, the tailpiece, the type of strings, the bass-bar (glued parallel to the G string on the inside of the top), and the soundpost--have been altered several times since the instrument was made. As it is pictured here and played in this recording, the violin has been restored to approximate its 17th-century condition and adjustment... ..as presently restored, the neck is of the same length as that of a modern instrument, while most Amatis were built with slightly shorter ones.." The neck looks to be attached to the ribs and I think I can make out the graft line so it may have been converted from a modern setup or perhaps the neck was replaced without ever having a mortise. Is that uncommon?
  13. Thanks for sharing. I’m really enjoying Mr. Luca’s masterful yet understated approach to Bach. I find it very easy to listen to compared to more flashy players if that makes any sense. The instrument is of course secondary to the skill of the player.
  14. Yes, all completed and spinning smooth. I'm on the hunt now for good early music records. Any recommendations are welcome.
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