Mark Norfleet

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About Mark Norfleet

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  1. I don't know Rachel Podger's recording, but very much enjoy Sigiswald Kuijken's 1983 recording of this music. The instrument sounds great on the recordings, much better than my experience of it in person. That could well have been because of the space I heard it in. If I remember correctly the violin was made by Grancino.
  2. Putting on a lot isn’t necessarily bad, and I would offer that too much is better than not enough as the increased volume of glue will extend the open time a bit. As posted on MN recently, but maybe not in this thread...
  3. I'm not going to make a call on at what point anything becomes over analyzed, but do think the subject has everything to do with your original post and the various contentions you've made and positions you have taken along the way. It's good that you know as much as you do. Hopefully one day you can sort it all out and put it to good use.
  4. I can assure you from years of personal experience and observation that David is every bit as skilled at using a plane as this guy shows in his videos, probably better. His “myth busting” isn’t. It’s simply statements of his personal preferences and reasoning behind them.
  5. Let alone how one produces that sound and what playing techniques were used, including whether or not chins touched violins. The curious thing for me has always been that so many folks pursuing what they believe is historical performance practice and sound to the Nth degree are using old instruments.
  6. Just get the appropriate bow and strings and see how far you go with it. If it works, it works. One of my instruments, which has a modern bridge etc, is being played in the early music group Tafelmusik on a regular basis, or at least was before performances stopped.
  7. Exactly. Thank you Mr. Darnton.
  8. Let's hope so. I wouldn't want to offend the Pope.
  9. Are non-expert contributions ok in this thread?
  10. Your bandsaw table won’t be nearly as flat as even a proper B grade granite surface plate, it also won’t be as stable as the granite.
  11. This reminds me... I was hanging around after the awards ceremony of an early VSA competition and a winner was asked about their varnishing technique while applying what was acknowledged as a "spirit varnish". The maker said something akin to: "I just get drunk and go for it".
  12. Just for fun... When you're redoing the joint and after you've gotten it perfect, set it aside for a few hours and check it again. You may well find that the joint is no longer perfect, even without the effect that glue will have on the joint surfaces. Producing a joint with no visible gaps doesn't mean that there aren't any and that all is well once things are glued. I like to have the insurance of thoughtfully applied clamps. Experience is valuable. I find that it's a good idea to try to prove myself wrong once in a while...
  13. So..., why is that what I want for peg dope, as opposed to the other possibilities?
  14. It depends on where you live and what the laws are. When I had a similar situation I was guided by an attorney to look into the pertinent situations with auto mechanics. I dealt with a local "friend of the court" and the short story is that I had to send a registered letter to the last known address of the owner notifying them that the instrument would be actioned at a certain date, place and time if they didn't pay for and collect the instrument. I never heard back from the owner of the instrument and, the registered letter I sent was returned unopened. The instrument was sold by simple auction at the local courthouse at the stated time.
  15. Another vote for not trying to remove and re-use that one. It’s very unlikely to go well. I’ve done it before on a damaged viola and it worked out fine, but won’t I be doing that again.