MarkBouquet

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Everything posted by MarkBouquet

  1. Oh, is that right, vda? https://fishbio.com/field-notes/the-fish-report/stinky-salmon-natural-fertilizers And prior to placer mining, the Sacramento River was deep water navigable to Sacramento. Now the Federal government spends a couple hundred million $ per year dredging it to keep it marginally open, and to control flooding from the annual spring runoff. And might I point out that your article was last updated 11/12/20, ten whole days ago, and a lot’s been learned about California geology since then. And we were talking about corners on violins until David B. Posted a video about scantily
  2. OK. We had a 19th century phenomenon here in the Sierra foothills of California called placer mining. It silted the rivers, Sacramento River delta and San Francisco Bay, essentially for all time. It suppressed the salmon and steelhead runs so they’ve never been the same since. (Millions of years of salmon and steelhead runs were the very reason California had a fertile Central Valley, and coastal forests like nowhere else in the world. The fish were the fertilizer.) The scars in the foothills will remain for thousands of years. Some people recognized from the beginning that placer mining
  3. I knew that, and I was just kidding about the masks. Having said that, there’s something appalling about delighting in tearing up our Mother Earth like that. It’s kind of embarrassing. And I don’t mean to point the finger at you either, Mr. Burgess. I’m guessing that you weren’t there. You were just demonstrating your talent and aptitude for sarcasm.
  4. Microphone placement is mission critical when recording a violin. Also, the room and your position in it, and a bit of reverb can be very helpful. I have no doubt that your microphone is up to the task, you just have to take care of everything else. I would also point out that a violinist really doesn’t know what their violin playing sounds like from a distant listener’s perspective. This is why they should always bring someone else along to play any instrument they’re considering buying, so they can hear that distant sound, which is usually better than the player’s experience. My point i
  5. I was passing through a farmer’s market this morning, and there was a person operating a mobile sharpening service. I thought some of you might find one of his machines interesting. I asked him if he made it, and he said no, but it was highly modified. It’s two 1”x30” belt sander/grinder machines side by side. 1800 rpm motors with small drive wheels resulting in 800 ft/ min., which he said was “why I like it.” He had other machines but this one caught my eye. And he admitted that he couldn’t sharpen plane blades or chisels, mostly knives, hedge shears, pruning shears, scissors, etc. But the ma
  6. There are these, and maybe others too, that claim to do exactly what you’re asking for. Reasonably priced too. But this company has online videos showing how to modify your motors to work with their devices, including removing the start capacitors from the circuit and changing some other connections. I’m left uneasy about modifying the rather beautiful American industrial quality motors that my machines have. I wonder what the motor manufacturers (Baldor, Leeson, Marathon) might say about this. I’m inclined to let you try it first, and I’ll wait for your report. https://www.ato.com/single
  7. Thank you for that advice, Don. My wheel grinder lacks a start capacitor, but my belt grinder, which is just 1/3hp, has one and would undoubtedly be damaged by running at lower speed. Another possible issue is cooling. I read years ago that ac motors designed to run on European 50Hz power would be safe to run on American 60Hz power, they’d just run a little faster. But motors designed for 60Hz American power would run slower on European 50Hz, and therefore might not cool properly. And the centrifugal switch might not open. Update: as I read more about VFD’s, I realize that they’re n
  8. I read this and thought “what’s a VFD?” So I looked it up, and I’ve realized that a variable frequency drive could be extremely useful to me for slowing down my belt grinder, and my wheel grinder too. I’m seeing that there’s a huge range of prices, some very expensive and some pretty cheap. Does anyone have any experience with these to share? And thank you for the tip, Jackson.
  9. My 1” belt sander/grinder has an 1800 rpm motor, but a 4” drive wheel, so the belts run at 1885 ft/min, which is 1/2 of the rim speed on an 8” wheel grinder running at 1800 rpm. I still have to be careful about overheating though. I often wish that I could slow it down more. And I added a reversing switch which is great when using a leather strop belt, and for a surprising number of other tasks too. I had an electric motor service shop wire the reversing switch into the machine, and altogether this belt grinder was an expensive investment, but very useful.
  10. Do you think that Homer Clark would have inserted that Guadagnini 1773 label in his violin, or would you assume that to be a later embellishment?
  11. I don’t know the answer to your question, but one could assume that the introduction of steel strings made fine tuners obligatory. Prior to that, they really weren’t needed, or at least they weren’t necessary.
  12. I agree. I tried to watch it, but halfway through I realized that my mind had wandered elsewhere. That’s when I turned it off.
  13. Herdim clamps are claimed to be made from polyurethane, while the Chinese knockoffs that state what they’re made from, say they’re made from ABS. Here’s an article from the automotive industry discussing the relative merits of each product, and one factor that stands out is ABS’s natural resistance to UV light, which polyurethane lacks. If I had Herdim clamps, knowing this now, I’d store them in a dark box or drawer. And I noticed that some of the Chinese knockoffs seem to have figured out that there needs to be that step difference at the jaw surfaces. Well....., at least their photos se
  14. Is there a consistent place where the Herdim clamps fracture?
  15. If a chisel or a plane blade has been overheated, or “blued,” and then the discoloring has been lapped away, all that you can practically do is grind/hone it and use it, recognizing that it will dull quickly, and then hone it again, and again, until the burned area is ground/honed away. Unless someone was extremely careless and burned it extensively, the burned area probably won’t go too deep into the blade. CBN grinding wheels are far safer for avoiding a burned temper.
  16. Here’s a photo essay I put up before about the way I modified mine. Perhaps this will answer your question.
  17. No need to apologize. It’s not your fault that the seller was in Canada.
  18. Your photo is too out of focus to read the stamp on the bridge, but I’m wondering what that says. Does the bridge stamp correlate in any way with the inside back stamp?
  19. How embarrassing to have the bridge that far out of position.
  20. Without meaning to take anything away from her performance, and admitting that it’s hard to tell viewing this on my iPhone screen, but I can’t help feeling that she’s doing the violin equivalent of lip syncing here.
  21. Don, you make some good points, and I’m not sure that I have the background to argue with them. I think it would be interesting to tune a new synthetic string to pitch, position it horizontally, hang a weight from it and carefully measure the deflection. Then do the same test after having kept the string at pitch for, say, six months, played on or not. My intuition is that the deflection would be less after the time interval. And we all know that a new string stretches for a while until it reaches pitch “stability.” But does that stretching process ever really end, or does it just slow down to
  22. Strings lose their elasticity over time. One result of this is that they become harder to play in tune. When we tune a violin it’s important to bow lightly because when we bow with greater pressure we are effectively stretching the string to a greater degree, and therefore raising the pitch. Old, inelastic strings are more prone to this effect, and by the same principle, are more difficult to play in tune under all conditions. And I can perceive a diminished tone quality with old, stretched strings. You seem to be implying that we’re all subject to some herd mentality, and imagining the e
  23. There comes a time when you might as well keep them. Will you never need to glue two violins at the same time?