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Everything posted by murrmac

  1. Got it in one, John. Like everything else on the internet , so much of what we read about glue is anecdotal. AFAIK, there has never been a test conducted by a properly accredited scientific body, and advised and supervised by expert woodworkers, to determine the "creep factor " of various glues. Given that the design and implementation of such an experiment would be simplicity itself, the fact that it has never been done puzzles me. Although Franklin say that their aliphatic resin glues creep under tension, they don't say how they have established this . It is at least feasible that many of the anecdotal reported incidences of cold creep in PVA are due to insufficient preparation of the mating surfaces, and/or insufficient cramping pressure. You can't do a rub joint using PVA and expect it to perform over time in the same way that a rubbed HHG joint will. You need to slather it on and clamp it real tight ... ( "glue starved joint" due to excessive clamping pressure is another internet myth btw)
  2. Considering the amount of research that has been done on Stradivari bodies over the years, it seems strange that the mathematicians haven't gotten to grips with the neck profile yet. It's obviously parabolic, described by a simple equation of the form y = ax2 + bx + c . The problem of course is to ascertain the values of a,b, and c which best fit the curve.
  3. TiN (titanium nitride) coating certainly makes a difference in the drilling performance of twist drills, both in in terms of longevity of edge and in smoothness of cut, at least when you are working in metal. Whether it has any perceptible benefit in a manually operated reamer in wood I have no idea. I bought the TiN coated one because it looks nicer IMO. If you leave a TiN coated drill exposed to the elements for any length of time it will certainly begin to rust, and fairly quickly.
  4. Is there a universally accepted terminology for the dimensions of a violin neck? I would have thought that the appropriate term for the dimension from side to side of the fingerboard would be the "width" , and the term for the dimension from the back to the top would be the "depth" ? It always bugs me on guitar forums when people refer to a "short" saddle, when what they really mean is a "low" saddle .... shortness would be a function of length rather than height.
  5. Drat ! already paid ! I'll get one with the next order. Since it's HSS it should be able to stand re-sharpening without losing any edge temper. I have a very sophisticated sharpening jig with every grit of DMT diamond stone in it which will handle it.
  6. Excellent info. I will order the straight TIN coated 1:30 reamer and the larger shaper now. Thanks.
  7. John, I have settled on the reamer, but which one of the Herdim peg shapers would you recommend ? I see that Dick have two Herdim peg shapers, one does pegs at 8mm diameter and up, and the other does 7.5mm and down. I suppose what I really need to know is which diameters are readily available to buy online (I am not going to make them from scratch) . Also, I am never going to need to fit pegs to a viola or a cello. I suppose another question would be, do violinists prefer larger diameter pegs, or smaller , or do they even care? I would have guessed that a smaller diameter provides more sensitivity in tuning , but that could be a fallacy.
  8. I already have a small lathe, but I'm not going to set it up just to turn pegs ... no way.. Maybe I should have qualified the "money no object" with "within reason" . I have to say i was flabbergasted to see that the Herdim spiral reamers have a right hand spiral, and (presumably) cut with a clockwise rotation (just like a twist drill). I have never ever even seen a metal cutting reamer with this conformation, let alone used one.. These invariably have a left hand spiral and are used with a clockwise rotation, otherwise the propensity to grab would be intolerable. So no spiral reamers for me. Looks like the straight Herdim 1;30 is the way to go, along with an Alberti peg shaver. Thanks for all the advice, much appreciated.
  9. If the consensus is that the Herdim triple - edged reamer is superior to the single edged reamer, I have no problem with forking out the extra ... I agree, cheap tools are a false saving. Do most people prefer the spiral reamer or the straight edged ?
  10. Looking at many of these links, it seems to me that most of these reamers have more than one cutting edge.... but that , surely is not what you want to get a perfectly round hole? The merit of the Stewmac reamer is that it has a single cutting flute, and the rest of the flutes are rounded, which assists in getting a round hole. I would imagine that it is analogous to using a multi-fluted countersink in a drill press, which can produce a pentagonal rim on the hole , whereas a "snail " countersink produces a perfectly round rim..
  11. I'm not having any luck finding " reamers " on their website
  12. I did say in the OP that money was no object, but £222 GBP ... ouch ...
  13. I'm not sure what you mean ... is it important to know the length ? I would have thought that the widest cutting diameter would be a more meaningful spec, but hey, what do I know? A 1:30 taper is just under 2 degrees, which seems to be the standard as far as I can see. So where does one go to obtain a better reamer than the Stewmac one?
  14. Thanks for all the suggestions so far. I do like the look of the Alberti shavers, and for only an extra £50 above the price of the Stewmac tool I would be happy to get it. One thing I am not sure about ... do all violin peg reamers (and by definition all shavers) cut the same taper ?. The Stewmac reamer cuts an advertised 2 degree taper, which I assume is the included angle, but it may of course mean 2 degrees on either side so that the included angle is actually 4 degrees ... but 4 degrees seems intuitively to be a bit steep for a violin peg. In particular, would the Alberti shaver be compatible with the Stewmac reamer straight out of the box ? I have had a look at the instructions but they don't cover that point. I am unsure from reading the instructions whether the taper angle is adjustable or not.
  15. I am on the point of buying the tapered peghole reamer from Stew Mac, but am wondering whether i should get the peg shaver (or "shaper" as they call it) as well. Money isn't really any object, but it seems to me (and I may be wrong) that once you have the reamer, it would then be a simple matter to make an effective shaver out of an old plane iron rather than spend $80.00 + on the Stew Mac tool. Or should I be looking elsewhere than the Stewmac catalog in the first place?
  16. Every so often, one encounters a post on internet forums which is irresistibly reminiscent of Oscar Wilde's immortal utterance to an American journalist just after his arrival in New York. "How did you enjoy the crossing, Mr Wilde ?" inquired the scribbler. "I found the Atlantic disappointing", replied the great man.
  17. The videos certainly explain the theory well. In theory, theory and practice should be the same. In practice, they often are not. The question is, does equal temperament on a properly set-up and properly tuned fretted instrument lead to any perception of out-of-tune-ness by listeners ?
  18. Where to start ? OK ... mandolin players (and guitar players) play double stops all the time , and nobody ever accuses them of being out of tune, leastways if they are playing a quality, properly set-up instrument. It is possible (for a tech who knows what he is doing, and who understands equal temperament) to get a fretted instrument to play well within 2 cents on every fret, in every key. This involves compensating the saddle (which is what the thing that the strings go over is called on a guitar) and also compensating the nut. I'm not quite sure where you' re going with the "bridge set in concrete"... and what the relevance of the bridge height is. I assume you mean that the scale length is fixed and immovable on a guitar, and that the potentially variable scale length on a fretted violin could throw the intonation out ... which is indeed the case. It would be necessary to install the frets on the instrument very accurately according to the actual scale length, and then compensate the bridge and the nut accordingly, and make sure that the scale length never altered. It doesn't seem like an insurmountable task to me ... but I may be missing something. Lest anybody picks up on the "2 cent accuracy" thing, I am willing to bet that if you took any recording by any top flight violinist and subjected it to digital analysis, you would find that there were some notes in the performance which deviated by more than 2 cents from the Pythagorean ideal (and I don't mean the vibrato notes).
  19. I could see that being a problem. To make it play acceptably in equal temperament, I am surmising that the bridge would have to have some degree of compensation, and ideally the nut would too.
  20. I know that the crown of the fret is much narrower than the crown of guitar frets ... around .050" as opposed to .080" and they are also sanded much lower than guitar frets, which are conventionally around .040" - .045" in height . What the actual height is I don't know for sure but my guess would be .030". I believe it is possible to do a vibrato on the fretted instrument is exactly the same way as on a conventional violin, and it is also my understanding that glissandos are also perfectly feasible.... but I would love to have this confirmed or denied by somebody who has played them ...I am only going by what Mark Wood says.
  21. As far as I am aware, the fingers are not placed between the frets, as would be the case on a mandolin or guitar ... the fingertip is placed on the top of the fret , exactly where it would be on a conventional board. Leastways that is the way that Mark Wood plays it ... and he is more or less the inventor of the modern fretted violin I am slightly skeptical that the fretted instrument would be all that useful as a learning tool for somebody intending to become proficient on a conventional violin ... I would think its value is more for the guitarist or mandolinist wanting an easily accessible second string to their bow (so to speak).
  22. Yes, http://www.frettedviolins.com/ will customize a fiddle with frets or supply one already fretted. I can see the appeal for a guitarist or mandolin player in a band who would like to work up a party piece for performance, but doesn't have the time or inclination to put in the hours of practice to gain competence on a conventional violin.
  23. I would imagine that if they have, it would have been an electric fiddle like one of those made by Mark Wood. I doubt if anybody has ever played a fretted acoustic violin, but if they have, i would be interested to hear about your impressions of how it played. Whether electric or acoustic, did you find that you were able to overcome the ( perceived ) intonation difficulties? I know the subject can arouse impassioned opinions from armchair theorists, but it would be really peachy if responses could be garnered mainly from those with actual hands-on experience of playing a fretted violin. By fretted, I mean the fingerboard has raised metal bars inserted in the wood of the fingerboard ... I am not talking about applied colored strips, nor about the stick-on jobbies which are advertised on Ebay ... I mean proper frets, like in the Mark Wood instruments.
  24. http://www.google.co.uk/patents/US1095900. tells you more than you would ever want to know.
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