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  1. Absolutely, Robb. Any and all comments about Glier's violins, as well as any comments about anyone else doing the same thing at about the same time. Import numbers and original pricing would be interesting. "it seems to me unlikely that it is a linear-sequential system." Unlikely, but how many trade instruments could the shop move in the 1890s? The Depression 0f 1873 was over, and immigration was picking up.
  2. Greetings, all. I'm looking for some general info on a Robert C. Glier violin. Sorry, I've only images of the scroll an the label, but it appears to be a hard-played violin, perhaps a trade offering? Whatever snippets of info you can offer will be appreciated. Besides the manufacturer's name and city, the only info on the label is: No: 1793 and the date 1893 Besides a few valuations, this is all I have thus far: Robert C. Glier I - Violin maker - (1855 – 1924) Markneukirchen maker who emigrated to the USA 1885. Worked for Wurlitzer before establishing his own shop in Cincinnati.
  3. Well, the joke was supposed to be rolling the peg another 180˚. I've had apprentices turn something over and cut/drill/whatever, when I told them to "Wait, its upside down, turn it over" :-)
  4. The dollar pegs didn't help matters. The wood compresses and throws the string hole clear into the sidewall in no time. Speaking of non-professionals, there is a top and bottom of the peg, right? For drilling purposes?
  5. Thank you! My issue was the drill speed. Still not perfectly square, but I will make something to overcome that. I asked a similar question before and saw the drill jig. I may try a bevel on my work table first, recessed for the peg head. The 4mm is helpful. I tried being more aware of what is going to happen to both the string and what will happen to the peg over time. I'm getting a nice winding this time. Used old strings to test and set up my nut and bridge. Amazing tone, considering the top was in three pieces a few months ago. Just finished, will string it up one more time tomorrow before unwrapping the new Pirastro Wondertone Golds. Came up with a new way to protect the pegbox while buffing up the nut. Index card folded over the pegbox, punch in a hole at the G & E, and stick its peg partway in. Perfect. One of these days, maybe a bench sander will replace my laborious method. Also a new small sanding block. 1/16" cork glued on one side.
  6. Does slow drill bit speed result in a messy hole, especially coming out the other side, or would that more likely be drill bit quality? I've noticed my Skil power screwdriver is likely the problem, and read I want 3,000 RPMs for hardwood.
  7. So conceivably my 95¢ pegs began shrinking as soon as the lacquer was shaved off. I've noticed a far tighter grain in the latest $2 pegs. The issue has vexed me, causing embarrassment when a friend's daughter's violin had a string issue a few months after I repegged it. Guess I was looking for the magical rule of thumb on hole placement, to account for peg movement towards the taper. Not enough room for that, though, unless the string is permitted to wind upon itself, which I was told one never ever does on violins. I'll work at compressing the holes better. And leaving a couple of mm. The current project has the pegs in tight, and I rework them periodically. No lube here (only wool lube) but plenty of chalk. My power screwdriver is 220 RPM, which might be good for working the hole. It is not great for drilling the peg; I have to go up to 1500-3000 rpm for a cleaner hole (or is it my drill bit?) Love the jig for drilling a square hole. Maybe I can plane an angle along one edge of my work board to make the hole more square. I'll begin deburring my holes. Great touch which will be noticed. I've heard of gluing a top in sections on larger instruments (cellos) but so far I've done them in one application. Time to slow it down and work in sections. I may even open up six inches around the lower bout of the current project. No time like the present, right? Good to know the top shrinks. I've had backs off a few times and do not care for cutting a button free! Guess I was picturing a guitar rib mold type set-up. I'll work in sections from here on out when necessary. The varnish is working out. I put the pigment in the mortar first, then got it well-suspended (dissolved) in Bektol. It is brushing on without leaving granular bumps. So maybe last week's batch was faulty (no pestle). I'll begin making my pigments more fine and dissolving them in a little alcohol, then test-brush onto paper before adding to varnish. I looked at $50 brushes today. And decided to stick with my $16 brush. I've found that with a little more of an aggressive stroke, it is leaving zero brush marks. Next time, a wooden handle. Its grey plastic handle does not like denatured alcohol.
  8. Over the past few years I've been acquiring and rebuilding older violins for hobby and request. 1880 - 1930 is the general age of my subjects. Here I present three topics with six questions rattling still around .... and greatly appreciate your insight. Some of my ancient pigment is not dissolving in my varnish. It presents granular upon the varnished surface. Today I made a fresh batch and first tried to dissolve pigment in Bektol, which was then added to varnish. The new batch worked better and the color is getting where I want it but some of my pigments may be of issue. 1] Are pigments dissolved or suspended? 2] Was the issue likely my pigment or my procedure? Sometimes string holes I drill in pegs end up in the wrong place after the peg seats itself. A peg in a newly-dressed hole can seem plenty tight. I'll work it around, chalked, for a few days / weeks before drilling the holes, but within a couple of months the string is not where I want it. Any idea, besides experience, what I am missing? Maybe use one set of pegs to condition newly-dressed peg holes, and then fit new pegs? Do you ever have to compress the ribs on the violin before gluing the top down. Recently a corkscrewed body wanted creative application from the sides. And last week I pushed in a lower bout as I was setting a spool clamp. Is this common? Does one sometimes remove the ribs to a form, and glue the top afresh, then reset the back?
  9. Thank you, Felefar! The four pigments are in the small photographic plates box. The first two envelopes I cannot read but versions of the 3rd and 4th come up in web searches. The blocky chunks posted last Monday, on the 28th ... shellac maybe? Inside this olfer Kent cigarette package I think I found tolu balsam ans what looks like more saffron, but I cannot read the label.
  10. With Byrdbop I strongly agree. You've got a classic early 1900s tavern fiddle there. This violin stuck around for a long time. It's a survivor. Heck, someone even took the time to trim the pegs flush. Wither through love of music and tradition or maybe someone knew how to get a special tone out of it. Or maybe get a night of drinks out of it? A good wipe-down with naphtha (but be not tempted to set it aflame). Off with the dirt, repair a crack or two, maybe a new piece here and there, glue it up taut, make a perfect bridge, and string it up. I'd leave varnish out of the restoration. Looks heavy enough, with that thick fingerboard. Too bad it is not a 4/4. Here are a couple rescues I did last year.
  11. With small jars freshly cleaned of their labels, I'm finally delving back into the box of pigments. This little box, like a deck of cards, has long intrigued me. As if it were a pocket-kit of tints which might solve all a luthier's problems. (The holzbeizen may be the grail I seek). As I label my jars, any help will be greatly appreciated. Finally unwrapped and decanted, this is what we have:
  12. Wow, great eye. I thought the f-holes on my reproduction were looking suspiciously like a watch pocket!
  13. Using them, that was the idea. Toss them ... just when I was beginning to get a feel for them. The current projects 1] pegs bridge touchup and 2] a little more than gluing a separated top.
  14. The buds were loosely wrapped in these two pieces of paper, one of which looks like a detailed sketch with very small writings upon it. A fair quantity. The stigma is the light part? I believe a mortar and pestle is in order. I'll try to press the sketch flat and post it after a bit. These yellow chips are resin for making varnish?
  15. Yeeeoooowww! I'll be careful not to ingest it! I figured since lots of these packages look over 100 years old - easily - and the labels indicate "chemists shops", that some are probably items which wouldn't pass OSHA muster these days. Respirator is ON most of the time when opening up the more dusty, crinkled packages. Thank you! What would sandalwood wood shavings be used for? I had an idea, between wakefulness and slumber, on the flower buds. Separate the light from the dark, and use the lighter parts. It is a perfect shade. Speaking of turmeric, taking the jesting of a few jokers literally in my formative years, I once used pumpkin spice as a tint in a patching compound. Learned my lesson, and went on to make effective ebony, spruce, and maple fillers for occasional use.
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