RLC

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About RLC

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    Scotland

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  1. Cedar top repair question

    No cedar scent that I can detect. It just smells like an old fiddle. I had thought the stain was maybe to hide the bright redness of the cedar, but then who is going to be looking inside...other than us?
  2. Cedar top repair question

    It's not a Jackson-Guldan. It is quite an unusual violin, however. Made by David Weir of Glasgow in 1913. The ribs are double 'ply', with no linings. Peculiar convex rib mitres. Cedar top with the inside possibly stained. Very widely spaced f'hole eyes. Flattish arching. It has a really nice scroll, in my opinion. I'm really looking forward to finding out how this instrument will sound.
  3. Cedar top repair question

    For years I have had a violin at the back of my cabinet, sitting in an unplayable state with a bad crack on the top plate. The crack runs from top to bottom, straight through the soundpost position. I am confident in carrying out this repair, however, I have never carried out a soundpost patch on a cedar top. I realise that cedar tops are quite unusual, and as such there might not be much experience of repairing them. The cedar seems fairly brittle to me, which I suspect is the cause of the crack. The top plate is almost 5mm thick, which I suspect is deliberate to compensate for the cedar. Does anybody have any advice before I begin this repair? Here's what I have been thinking about; Should I use cedar (not common in the UK, but I could order some), or else use spruce, which I have, and am used to working with? Should I follow the standard size of patch? Being that the top is so thick, and the material brittle, should I still go down to .5mm? Having never heard a cedar topped violin before, should I be expecting a reasonable sound? Any advice greatly appreciated. Thanks.
  4. What does this tool do?

    Listed as a tool for shoving purfling into the Chanel?
  5. Rust inhibitor/prevention suggestions

    Currently my workshop is a damp, small shed, and I really struggle with rust on most of my mild steel tools. I tried Camellia oil on my planes, but I made the mistake of putting it on too thick, and leaving the tools unused too long. When I went to use the planes, the oil has dried and hardened. It was a nightmare to remove. Now I have started to store the tools in a better environment.
  6. I really wish there were courses such as this in the UK. As far as I am aware, there are only full-time degree-type programmes at the likes of Newark? If I could commit to three years with no income, I'd be there like a shot! On the plus side, though, today I have just received a copy of Weisshaar & Shipman's Violin Restoration. On first glance, it seems to be a treasure trove of information :-) Am really looking forward to learning more.
  7. On the subject of antiquing I am curious about the grain on the top plate of this violin. I have two questions, how, and at what stage in the finishing is this sort of antiquing done. What is the process normally used to highlight/dirty the grain? I imagine it is done after the ground, but before the varnish, is this true? The problem with this, I imagine, is that the 'dirt' appears beneath the varnish, which is not as it happens with the passage of time?
  8. Violin ID please

    Thanks George I have been lurking for a while now, and really love the ID threads. So much to learn!
  9. Violin ID please

    Thanks for the reply Martin. I'm curious, are there any good books which exist describing violins and their national traits? A sort of general outline? Is it something which can only be learned and understood through viewing and handling many instruments?
  10. Violin ID please

    Just noticed the photo's haven't uploaded. I shall try and get the rest.
  11. Violin ID please

    Good evening from a windy day here in the Scotland. This violin was purchased from a local auction for not very much money, £78 ($102) including commission for those interested. I am curious if anybody can tell me about where it might be from? It is fully lined and blocked. From what I can tell the linings are not let into the blocks. The purfling, as the pictures show, is quite close IMO to the outside edge. Once set up, it has a nice sound...other than that I am not sure what more to say about it. Any questions please ask. Whilst I have your attention, I have a related question. What attracted me to this violin was its arching. To my untrained eye, I would call it flowing. I have heard other violins described as having deep, or wide arching. I am curious, by deep arching, do people mean height above the ribs? Does wide mean distance, or scoop, in from the edges? Have I got those the correct way round? How would one describe the arching on this violin (feel free to criticize)? Apologies for the use of flash in the photographs. Poor lighting and I was struggling getting a crisp image without it.
  12. Thanks for the reply lpr. I shall research and look for horsetail. I'm sure a species of it grows here, though much smaller than the photographs of it that I have seen. Onwards and upwards, Roddy.