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Nick Allen

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Everything posted by Nick Allen

  1. You might be able to scrape that off.
  2. I really love your work! Especially your red-brown varnish that has so much depth and luster. Weird question, though. What is the make of that bridge blank in the picture with the holder? I really dig the cut of the blank.
  3. On new pegs? If you're building new, or installing a fresh set, I go with slightly off-center towards the head. It makes it so the hole isn't super close to the narrow end wall once the pegs compress and end up pushing in a couple of mm after a few weeks.
  4. Looks pretty good to me. Certainly better than my first.
  5. You can just spray glue some 80 grit to a sheet of melamine and move on with your life after 5 minutes. I got 2 rib assemblies flattened and tapered in under ten minutes the other day. For the taper on the upper blocks to the neck block, just put a ruler down and ride the Garland on that for a few strokes and voíla.
  6. Not necessarily. I know many professional makers who don't bother with a plane on this step. It's what gets fiddles made faster that matters, and that's different for each maker.
  7. Jesus H. Christ. What a truly horrible publication that was.
  8. I have two minds about cutting down. On one hand, if those historic villas and cellos we're never cut down, they might not have survived the test of time and perhaps had been forgotten because of their unwieldy carapace. On the other, it is modifying an original work, and can lead to bad things if not done properly. But I take no ethical stance. Violins are not living. If a paying customer wants their instrument modified, I don't see any ethical lines that have to be crossed. It's an interesting process that takes much skill and knowledge to accomplish.
  9. Eventually you'll ditch any numbers and just doi it all by eye and feel. The only indicators that I use are how thin it dribbles off of my brush and how warm it feels between my fingers. But different strokes. I use a pretty medium glue mix for basically the whole violin. The only job that I use thinner blue for is gluing the top on. The key is setting up your clamps for optimal speedy gluing. I'll usually preheat center joints and neck sets. Sometimes fingerboards if I feel like it. I think what's also super important that is often overlooked is the amount of glue you lay down. Too much can really complicate things.
  10. Then I suppose Strad should never have changed the model from the Amatis?
  11. What's with all the hate? I think it's fantastic.
  12. If you post these on the luthier exchange here you'd have an easier time selling them.
  13. If I were making a copy of a certain instrument, I'd have to make the distortions as close to my interpretation of the original shape as possible. Hopefully, the instrument will warp into something similar in time. But I suppose the templates provide some kind of reference for working that out.
  14. Probably either bad touch up that's turned black or poor antiquing.
  15. I used this technique just the other day on a top block that had the same problem. Idiots thinking that gorilla glue and a cut nail are the only things that will hold the top to the block.
  16. Looks nice overall. But your corner blocks are too long.
  17. Agreed. The arching shape should take precedence over this aesthetic quirk, IMO. So the f holes should end up how they look from the side purely incidentally.
  18. I think perhaps, to me, the only satisfying reason for tool marks existing in some capacity or another is, just make the violin. Pretty simple. Good looking tool marks on old (and new) violins looks good because people were just making a violin and the process wasn't a whole thing. These folks had to make instruments for a living, and wanted to fuss as little as possible and move on to the next. A lot of us guys/gals seem to go about instrument making differently, overthinking things because we have the luxury of time, be it from retirement, independent wealth, etc. If we all had to make violins simply as a product to make ends meet, those tool marks will probably appear and look great by virtue of not thinking about them. Just my 2¢.
  19. I'd bet dollars to doughnuts that if you went back in time and asked all of the makers throughout history about their varnish, you'd probably get similar answers that you do today. "I don't know... Just some stuff from this jar I've had for years..." "I got if from a guy down the street..." "I think it's like three ingredients... But I don't remember the recipe. Never wrote it down..." "You see, you'll never make a successful varnish unless you precipitate the polynucleotide salts with an ion ray pulse-a-tron at EXACTLY---EXACTLY- I cannot stress this enoughEXACTLY 220 KELVIN... Or else you'll have drying issues... In that case you can incorporate the carboferric rosinates earlier in the cook in order to..."
  20. What makes you say that this is revarnished? Revarnished violins only stick out if it's done poorly, in my experience.
  21. Just do what DG did and leave it ragged and rounded under the scroll there lol.
  22. What do you think the reasoning behind the Romberg going the way of the dodo these days is? Almost never seen on viola anymore, and about only half of the cellos I see these days have one.
  23. I was never attacking your opinion. Just stating what I like to do. There's really no right or wrong in this matter. Just taste.
  24. I don't think it's as nonsensical as you think. Aubert is down bad these days. I'm not claiming that their practices are dubious by any means. Just that their wood selection and sorting leaves something to be desired. I select blanks on a case-by-case basis. I don't need the logo to be there for my workmanship and customer relationship matters. But every luthier-customer relationship and market is different.
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