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Mark Norfleet

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  1. Many years ago I did an experiment, impregnating maple with dyed low viscosity optical epoxy and full coarse vacuum cycling. I was surprised by how little the epoxy infiltrated the maple.
  2. If it were mine…, I’d wait until the Purple Heart changes color before finishing it. I’d probably just oil it then. Holly will tend to get dirty despite it’s density, but may not be bad if oiled and cured well, depending on the habits and body chemistry of the player.
  3. I bet the silicone will work just fine, so long as it has enough strength to resist tearing at the F holes. If you’re attaching the plate to be cast to a piece of plywood or other such base, be sure to leave a hole through it to allow air to be expelled so you don’t get any surprises. I very much doubt using vacuum will get you any worthwhile improvement using a parting film that thin.
  4. I do believe that it was tin foil, and not lead. It is still available from dental supply places in a few different thicknesses. The thinnest I found with a quick search was .001”/.025mm. I have it in my memory that the stuff we used was thinner, but don’t know for sure. The Weisshaar book mentions .0006” tin foil.
  5. The Linarol that Jeff and I know can, but it’s not something I tested much…
  6. I’ve only ever seen and used it on rather large rolls. I think it would work ok for my purposes, but it isn’t as stretchy as the latex we commonly use.
  7. Yes, Brad, as usual, has it right. Simply think of splitting, rather than cutting, along the red line in your first photo. I highly recommend parallelogram shaped cleats such as shown in the Triangle Strings article. I make mine with an even more acute angle. Not only does it reduce the stress riser along the line of cleats, but it also makes it easier to arrange them in areas where there are a lot of cracks close together such that everything is reinforced without having weaker areas between cleats, aka stress risers.
  8. How can you know that you have a good setup?
  9. It happens fairly regularly for me. The most notable example was a commercial German violin that was brought to me to be set up by a talented University student. I even tried to talk them out of spending any money on it, but they insisted. It sounded fantastic and the player went on to have a solo career with Columbia Artists management, playing that violin until a Strad was loaned to them.
  10. If done carefully there’s little risk of cracking the heel of the neck. The screw can be removed and then the neck removed without opening the body of the instrument, and then glued back on if a change is desired, it’s more secure and can be used to hold the neck in place while making without being glued to asses accuracy etc. Also, you can use the screw as one of the clamping elements when gluing the neck on, or possibly the only one depending on your process. That said, if you have a passion for learning how to make hand forged nails etc…, go for it!
  11. https://www.academia.edu/25898590/Shapes_of_the_baroque
  12. The case could be made that none of us could make a real one.
  13. There are some photos available online, but the general consensus among people making baroque style instruments with necks which are not mortised into the upper bock these days is to use a screw through the upper block into the neck. There are a number of advantages to this method. If you go this way, consider using a screw that won’t corrode readily such as stainless steel, bronze or aluminum.
  14. Enjoy you hammer… It will be interesting to see if you think the set up and tooling required is worth it!
  15. It depends on how warped and if it’s part of an expensive set…. I’ve done partial turns on just the small end to reduce the error before shaping the rest of the peg. If it’s a run of the mill ebony peg, the most expedient solution is to throw it out, or in the kindling pile.
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