JacksonMaberry

Definitely agree with that. And you're right, if you're purfling free plates it's another story. Edit- one think I like about the model at international (at least I think it's the same from the small, blurry photo - mine is from sai gao originally) is the depth stop. But if you're not using it to cut to depth -and have modified the blades to accomplish that - not a problem.

Interesting! It wouldn't be possible to set this one up such as the vertical rod is bearing against the edges of both plates due to the knurling. That takes away the advantage of this style of marker, in my opinion, which is being able to hold it underhand very close to the action and having the two-plate-edge stabilizing contact.

The similar unit sold by International Violin is better in my opinion. Only the blades need to be modified for it to work well.

I've always preferred a very small chisel - I agree that the "picks" are not all that intuitive

No, I am not referring to the ibex style cutter, which is held from above. I have never been able to make those useful for more than marking, and I don't even like them for that. But many people have done just fine with them, so ultimately it's a matter of preference. Whatever works!

Those are nice! Reminds me of something Hargrave uses. I'd argue that the well made older "French" markers cut beautifully - but not as they come out of the box. Like all tools, they must be set up properly.

Saw that too, Michael. I have an old tool that this one appears to be a knock off of, and the blades being shaped correctly is what makes it work. As you say, single bevel. I'd add that sharpening both edges and using a rounded "spear" profile is useful, so that it can cut on both the push or the pull. This allows you to take fiber orientation into account. Using the tool set up this way, along with the included depth stop, allows be to cut the entire purfling channel with the marker itself, rather than switching to a knife, other than in the corners.

+1 for the figure eight knot. It's very unlikely to jam and easy to tie.

I will take them. Message sent

Much obliged!

It is free on Google books in the US, but I don't know what EU laws are like. Message me if you like and I may be able to assist

Beat me to it, thank you! Strongly recommend it to everyone. It's not necessarily the last word, but it's definitely useful and a fantastic leaping off point!

The Bible - JG McIntosh's three volume work "The Manufacture of Varnishes and Kindred Industries". Volume 1 is entirely about drying oils, 2 is about resins and oil varnishes, 3 is about spirit varnishes. It's a critical read as far as I'm concerned, and represents a comprehensive view of the state of the industry at the close of the Second Industrial Revolution.

Joe, your notes are probably a lot more dialed in than this, but posting it just for interest.

Full disclosure: like Joe, I am a manufacturer of instrument varnish (the Dr. J.G. McIntosh line of products). First, I would be hesitant to emulate the violin you posted images of. It is not unattractive, but what's going on there doesn't have much to do with traditional 16-17th century Italianate processes. Second, while the Joha products are inexpensive and relatively user friendly (relatively is the key word - varnishing is difficult), they are not what I would consider excellent finishes. Third, if you are seeking to use historically informed violin varnishes of an excellent quality, you should strongly consider Joe Robson's products. He is one of the most knowledgeable people alive and is very generous with his help. The customer service you get when you invest in his varnishes is excellent and is the standard to which I strive, myself. Lastly, if you are interested in the optical properties of rosinates, my varnishes might interest you. General tips: Develop color and contrast in the wood itself. Tanning is a common way to do this. Consider a ground/sealer that is oil-resin or strictly resin based. Proteins work for a lot of people, but their hygroscopicity and lack of good evidence for their historical use in old Cremona give me pause. Experiment heavily with application methods on scrap before committing to your instrument. Have fun!

Neat thanks. Yep, I've found that oil as all or part of the ground works great. We've talked about this in messages I think. They trick is just to do it right. Not absolutely soak it like Michelman, who turned at least two generations off of using oil on wood in violins.

I hear ya, man. Same. Just because there's a sucker born every minute, doesn't mean we ought to take advantage of them.

Unfortunately that's the majority of the consumer base

Big fan of the wittners. Everyone I've pitched them to has been reluctant, until they tried them in a performance. Doubly so for players of gut strings. Being able to stealth tune on the fly during a performance of Messiah is a godsend. Another option is the whole-hand tuning pegs used on East Asian chordophones, like the pipa, erhu, or shamisen. Might be a bit heavy, though

I have an old family fiddle from Appalachia that has oak neck, back, and sides. Rattlesnake rattle in there along with a massive toneball! I understand it accompanied many a Sunday church meeting in rural Oklahoma. Can't say it sounds great though!

I would expect the binding of water to rather increase damping. On account of it being damp, and all. =D

Very good point!!

I would think heat lamp would be better, though I have used neither. The air flow of the hair dryer would have a dessicating effect. Regarding the inside surfaces - I think some kind of coating inside is important, too. I scrape and burnish the inside surfaces just as thoroughly as the outside. Because my ground is essentially a type of oil varnish which requires UV curing, I don't use it on the inside. Instead I size with shellac. I don't like protein coatings anywhere because of the hygroscopicity. I would rather the coatings help safeguard the wood from atmospheric conditions than exacerbate them. Maybe I should use my ground on the inside some time and see what effect it has on sound and performance.

I haven't made before and after plots, as I am about as low-tech as Roger. It's all just experiential. Very interesting about Rene's approach. Tom Sparks talked about doing something similar, but with a hair dryer for heat. With the research available to us today, I think oil is every bit as important, if not moreso, a component than the resin. But as we know with linseed oil there is a huge amount of variation in properties from the available sources. There are also so many ways to wash or otherwise prepare oil, and so it becomes extremely difficult to talk about the effects with any authority. I do think penetration is important and, when done thoughtfully, beneficial. Michelman's extreme approach of total saturation is not good, but a bit of penetration certainly enhances the optical properties of ground-wood interaction and, in my experience, can do wonders for the tonal results too.

I do think this is an interesting suite of topics worth discussing. Thus far, I have made instruments with either Roger's PoP method or my own formulation of an oil-resin ground based on Echard's findings. I feel that the latter has a more pronounced beneficial effect on selective damping due perhaps to penetration (~ 10 microns), which reduces sibilance on the E and seems to favor robustness on the lower strings. I tend to build all violins on the same model, after the 1668 Stainer in the NMM and have the good fortune of working from the same logs of maple and spruce, but even so I think an apples to apples comparison of ground needs to be made carefully