JacksonMaberry

It's a real loss. I didn't know Juliet but my brother in arms Jose Catoira was a close friend and colleague of hers. The Violin Explained, as mentioned above is as much her book as it is Beament's, and one of my favorite books on violin family instruments.

That rib repair might be challenging without the right tools/clamps and some experience. Regardless, glad you found an instrument you enjoy! If there is a luthier nearby with a good reputation, see what they think. Best wishes!

Definitely worth considering, but not all created equal. Search the topics here on "Nano iron oxides". Some of these are not reactive and will present good color that is stable.

Good point well stated. The pressure of your technique matters. Years ago, I was at first frustrated by the method I was taught, that of hollow grinding and then honing freehand. I am embarrassed to admit that it took me switching, out of frustration, to using honing guides for a couple of years to realize the problem had just been user error all along, and that if I had simple loosened up and used no more pressure than is necessary to register the hollow to the stones, I'd have gotten better results faster and with less fuss. Grateful anyway for the lesson.

WB, I know it may seem lame, but I know several good living makers who use some of the inexpensive Joha color extracts and to good effect. However, my favorite living maker uses pigments only, mostly ones he makes himself. https://www.jordanhessviolins.com/instrument-gallery Rosinate varnishes are also an option, if you're looking for intense color and transparency. If you want to make your own pigments, Jo Kirby's articles and books are incredibly helpful. It's also pretty fun! I have an article on pigment making brewing for The Strad. Mike Molnar has done a lot of posting on modern pigments. As I recall, his favorites for lightfastness and transparency are the cinquasia red gold and the Perylene maroon. They have the benefit of being very inexpensive too. End of the day, lots of pretty good options, and I hope you'll find one that works well for you and that you enjoy. Cheers!

Looks great, E!

No worries! Thanks for your kindness. Marty is a cool dude.

Good history ref! I don't think I did provide any formulas though, I don't cotton to math. Maybe you're thinking of Marty?

Yikes, yeah that doesn't serve anyone's interest.

I would agree, and it's a shame that text is such a poor conduit for my dry sort of humor. Surely novices would benefit from the study of business, then so would more experienced makers. It is not standard practice to include such in the curriculum of VM schools, or really any trade schooling, unfortunately. Your dismissive tone is noted, unless of course your dry wit is similarly difficult to understand in the context of the written word. There are a number of dealers that I know and trust to work with. There are unfortunately more than that number who I do not trust, and for good reason. It is a shame that certain occupations tend to disproportionately attract those of an underwhelming moral character. My hat is off to those who compete with them scrupulously.

I am grateful then that we sell tools, not art. More seriously, the less the violin trade emulates the art and antiquarian trades, the better for everyone (except for investors, but candidly, bugger them all anyway). I am well aware of what dealers bring to the table. No doubt usurers also think highly of the "services" they offer.

I would find both of those completely unacceptable. Imagine investing 300 hrs of work in a fiddle on top of years of training and thousands in tools and study, only to have a third party get half or more of the prices on something they did not make. I think consignment is often 30%, with 70% going to the maker. It's still a bitter pill, but at least it can be swallowed.

I believe you understood me just fine, and I think I see where you're coming from as well.

You may just have to buy any one of the things that have been suggested.

Let's not forget Venice for the development of the Cello in this period.

Steel wound? Surely you mean copper/silver/alloy?

Thanks! And thanks, Don, for this as well. I have not tested any of this, but experientially agree with your assessment. For most things, at least my own new fiddles, making the tailpiece the correct length such that I can keep the gut (whether natural or technora) to a minimum seems to help me get where I want to be. I also have taken to doing a half twist in the technora, to approximate a single point of contact.

Oh wow, I hadn't looked at the dates! Mea culpa

Especially interested in your thoughts on the impact of gut hole spacing, Jeffrey. Thank you as always.

This ought to be on the Auction forum, rather than the pegbox

Freshly made casein is my preference for center joints, but I understand this is a minority opinion.

Alleyways from the inside of a trenchcoat, Yakuza offices, strip clubs, brothels, the dark web... In exchange for Bitcoin, enriched uranium, Krugerrands, bearer bonds, human organs, cocaine...

I've read that before as well - the idea of having the afterlength parallel. Taking it further, I'd have to wonder what if any effect might be had from simply extending the line from the nut to the bridge through to the tailpiece. This would obviously result in a very wide tailpiece that would look odd and be heavier.

Apologies, I didn't notice I was on the Exchange! Deleted, please do likewise since you've quoted the post.

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