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Posts posted by liang7079

  1. We get the list of tools and materials later in the year (school starts in September), it would be interesting to see what other people use and are considered "industrial standard" sizes for the chisels and gouges.

    It's the string musical instrument making course at Glasgow Clyde College, also known as Anniesland College in the UK, not as big and well known as Newark and other major schools but they are working on building up the department for violin making (it's more known for guitar making ATM)

  2. Hello all :

    Hope everyone is doing well during this unusual time at home.  I have am in the process of enrolling into the local luthier school and was wondering if I could hear some suggestions on the chisel and gouges sizes needed please? 

    (I have seen 6, 12, 18 and 24 all being mentioned, gouges I am planning on getting 5/8, 7/10, 7/14, 7/8, 5/25 and 8/13 for now) 


    Thank you for all your inputs in advance. 

  3. 12 minutes ago, Davide Sora said:

    I'm not a restorer but I would suggest Weisshaar book "Violin restoration", perhaps a little outdated in some respects (restoration techniques are constantly evolving) but still extremely valid I think.

    Yes definitely of interest, rather expensive but now being reprinted and will purchase when I can.

  4. On 10/10/2018 at 4:54 PM, duane88 said:

    None of the bow makers that have been suggested, who's bows I have had in my hands(most) make bows that I would consider light or fleixible. Adn while I am sure than any one of them could and would if you commissioned one, light flexible bows are not what sell in the market today.


    These days... Bigger halls with bad acoustic, almost everyone using hard, tense synthetic strings and having the "need" to play louder, faster, more aggressive, no wonder lighter more  flexible bows are not as in demand :(


  5. On 10/10/2018 at 2:57 PM, JacksonMaberry said:

    Or possibly the point being made is that there's more possibilities than OP's short list. Frankly, any of the makers listed could deliver on a bow that meets the qualities wanted by the OP.

    Not sure how valuable policing reading comprehension is to the discussion at hand.

    Lol I am open to suggestions.

    Yes the makers mentioned should be able to deliver something along the line , but would be better if it's his "natural" style.


  6. Hi all:

    Hoping to have your valuable opinions and suggestions ... which ones of these makers would you suggest that make works that in general are lighter and flexible, full and solo sounding, and handles similar to Tourte and Persois?

    Eric Fournier
    Yannick le Canu
    Pierre Yves Fuchs
    Klaus Gruenke

    Helge Netland

    Edwin Clement

    (Recently got a fantastic Noel Burke which fits the bill perfectly, hopefully able to have another after trying other makers works)


    Thanks for your suggestions in advance! 

  7. Hello all and happy holidays:



       I am thinking of getting better pegs for my violin and would like suggestions/inputs on what might be considered really good quality/best boxwood fittings for their durability, workmanship and looks (pegs, tailpieces and end buttons)

    So far I have found these to be quite well reputed:


    - Bois d'harmonie

    - Gerald Crowson (Mr. Crowson has closed his production until further notice unfortunately)

    - Eric Meyer (Mr. Meyer usually makes them out of Mountain Mahogany which kinda look like old stained boxwood)

    - Otto Tempel

    - Roger Hansell


    Would be interesting to hear which brand/maker luthiers like to use and would suggest. Thanks!


    PS: Do Mountain Mahogany fittings provide a different sound to the to violin as they are supposedly harder than boxwood? 

  8. Hi people: Just read some interesting articles on how the tail gut length could significantly affect the feel and sound of our instruments, which got me intrigued, how do you know if the length is correct?


    Also does do tailguts that are bit too short tend to pull the end pins out when tuning? (by the short length and tension)


    Here are the articles I read:



  9. Hi the lines around the bridge in photo in # 14 are white pen marks from chinagraph, not craved in marks. The photo was intend to show the similar position and marks on my own violin however I was not able to wipe them off. 


    Could these marks have already been there and covered up from French polishing and retouching, and now resurfaced because the table was cleaned for setting a new bridge?

  10. Hi thanks for your answers. The marks are definitely NOT from indentations from the bridge feet, as they extend out a bit, and the bridge was moved closer to the tailpiece. I spoke to the original luthier (in another city) that made the bridge, chinagraph pen was NOT used to mark the position, the luthier said the making could have been there already and surfaced when the table was cleaned to set the bridge.  I will see what the luthier in Edinburgh says when I go collect the instrument, 

    (the markings make a slight clicking sound when scrapped gently with a flexible plastic piece, and are said to have set into the varnish)

  11. Hi guys: First post here. I just got a new bridge which I am very happy with, improved the sound and response tremendously. However I noticed the are 2 lines right behind the feet of the bridge which the luthier said are markings in the varnish. Is this something that happens, that pen or tool marks are left in the varnish when a new bridge is being made and fitted?  Can this be fixed and prevented?


    Thanks for your answers in advance.