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About J.DiLisio

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  1. Peanuts aren't necessarily a bad thing though. It just depends on the model. Brescian instruments and late DGesu's look pretty peanutty..
  2. I used to have an old oscilloscope hooked up to my stereo just to watch the channels dance. Other than that it didn't see much use outside of the modular synthesizer building I was doing at the time. beep boop
  3. I usually find after a first pass that I've left the sections between templates too bulgy. It's hard to choose how to fill in the missing information sometimes when you consider the number of possible routes. What you've got there looks pretty good to me. Out of curiosity, why do you use just three cross-arch templates rather than the standard five?
  4. Here is a still from a video on Noémie Viaud.. I tried this out on my last instrument and it went pretty well. You can go back and forth between carving and measuring without having to move the plate. I've also just been using bench dogs and squeeze clamps for arching. My cradle has slowly been falling into disuse.
  5. It's interesting to hear a Stradivari in the most unflattering way, i.e. close mic with heavy breathing. Still sounds nice!
  6. I picked up one of these antique calipers on ebay and I’m finding it very useful. It’s not as precise as my larger one (1/2mm increments as opposed to 1/10mm) but it’s smaller and easier to have on hand.
  7. That's where my art handling experience comes in handy. I'm tying slip knots in straps on a daily basis.
  8. That's why you don't hire a house painter to fix your plumbing. I would think a good art restorer would be able to remove the fresh layers of paint assuming the original is under there somewhere. Honestly, the second attempt is growing on me and shows great improvement from the first. Who knows, a third attempt could result in a masterpiece.
  9. i checked in with them today and the planes are just out of stock till sometime next week. It is strange that they would remove the listing altogether though.
  10. I've been eyeing up the D'Angelico planes that are sold by Luthiers Mercantile for archtop guitar carving. They seem to be pretty close in sole profile and size to what Peter Westerlund is using in his videos for rough arching and hogging out plates. There are two sizes available and I was wondering if anyone here uses them and would recommend one size over the other for violins.
  11. How about the 1712 Fountaine Dancemaster's violin featured in the 1987 Exhibition book? It seems to be intact without any grafts.
  12. Well that sure puts my Harbor Freight workbench to shame.
  13. I just picked up a used copy of the Girolamo Amati II viola book so I'm basing it off that except for the head which is based off the Bros Amati that Vulliaume grafted onto the Castelbarco Strad. The Girolamo viola is pretty delicate all over. The ribs are around 1mm and the back gets down to 1.2mm. I'm not quite taking it to that extreme. My ribs are around 1.3-1.5mm. I've also been experimenting with thinning the c-bout ribs while in the white so I wanted to have enough wood for adjustments.
  14. Making some progress on the viola this weekend. So far I’m finding the larger scale to be easier to work with than a violin. Maybe because I’m becoming more ham fisted in my old age.