violinsRus

At this point I also use a hybrid approach. One plate is glued on the garland and one is free when I do the purfling and scoop the channel. Seems to work fine, until I find a compelling reason to do it differently.

I'm certainly guilty of over-brushing, especially on the top coat where the bubbles were most noticeable. Thanks for the feedback.

I'm seeing them everywhere, most noticeable on the final coat. But I admit that I probably introduced them by stirring the varnish prior to application.

I have had the same issue with pinholes even when spreading varnish with a finger, and I'm pretty sure it's from small bubbles. This is especially true with viscous varnish where the bubbles don't float up and pop very easily. The best remedy is to keep from introducing those bubbles in the first place, and then giving time for any to float out before application. Any other suggestions to avoid pinholes would be appreciated! tx

DF, want to post a few pics or links so we can appreciate what you are seeing in beautiful arching? It might help with my blind spots too. thanks!

In my experience some instruments are more sensitive to humidity changes, and start to sound poor in periods of low humidity. I would be inclined to blame humidity rather than temperature, but that's just my off-the-cuff input.

In my experience a good bow will improve the player. After playing with 'any old bow' for decades, I was amazed at what a difference a better bow can make.

I would call it hard maple, sometimes called 'sugar maple' or 'rock maple'. Very common in the Northeast, and too dense for my liking too. That's my 2 cents.

Great to hear a positive poster shipping experience! Care to elaborate on what you find amazing about the thicknessing? The Vieuxtemps is well known for superior tone quality, right? Thanks!

I believe they have outsourced the fulfillment of mail order materials to a third party, who apparently doesn't have a high standard of service. I finally received one I ordered, but it was crumpled and felt like a used copy! Would be great to have that poster collection though, I wonder if it's worth the risk!

When I was young I used to visit a violin maker near Woodstock NY (yes, THE Woodstock) by the name of Stoutenburgh, which must be the one you are discussing. I see by googling that his address was West Hurley, which makes sense. I recall he lived on Stoutenburgh Lane, visible in google maps. I drove past there recently and the little house where he worked is gone. I am currently making a violin with maple he cut in 1958, the last pieces of a bunch I picked up years ago from another old maker in the area. I'd be interested to see pictures of the Harry Stoutenburgh violin.

Thanks to this thread and a few month's of patience, I just placed an order with John for a PM-X knife; he's got the steel and is in production. I wanted to share the good news in case there are others who were waiting for the new steel.

you can look here, and search for 'cedar' and you will find some useful input: http://www.darntonviolins.com/violinmagazine/book/wood.pdf It was enough to discourage me from trying a nice piece of cedar I had, even for linings or blocks. Good luck, maybe others have had more success.

I may have found the piece! I can pretty much avoid the dark wood, it's the closest match I've found so far.

sometimes the bow needs to bounce, but controlled of course! Wow, original Pagannini bowing...