Anthony Panke

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About Anthony Panke

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    Senior Member

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    Violin making and playing. Alchemy.

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  1. Hi all, I am looking for one of the old cello bending irons from GEWA. Correct me if I’m wrong, but it should look like this: if any of you happen to own one, DM me and we can discuss further there, about shipping, price etc. thanks in advance for any replies Anthony
  2. The way I built my most recent viola was to construct the back outline, with the rib line, directly onto the surface of the back, then to “freestyle” the entire structure to that outline. All the blocks first (corner blocks carved only on the c bout side for now), then the ribs. The two c bouts can be made, the upper and lower bouts and then everything is glued together. The advantages were the speed of this method and having a good back outline, however it’s difficult to keep everything flat and parallel. I’d recommend using a mould for perpendicularity, but this works well for brescian style
  3. This is a useful website, any particular bridges on here that are exceptional examples?
  4. So, there are so many details to think about when cutting the bridge. These can be sorted into some for acoustical reasons, others for aesthetic reasons. What I am trying to get out of this thread is particular styles, details of the shapes of various parts, maybe one or two less conventional designs as a discussion point. What do you look for in a really good bridge? Any particular styles to point out? (I’m less interested in baroque designs, but don’t mind seeing particularly interesting details) especially useful would be photos here... Thanks in advance and I hope
  5. Thanks, it gets smoothed a little afterwards but something is different about an edge that used to be crisp. It’s a bit like homeopathy: the more I smooth an edge, the sharper it looks like it used to be
  6. Viola finished in the white! I’m very happy with the sound.
  7. Viola almost finished in the white. I intend to fit it up in the white to hear how it sounds and make potential adjustments, before varnishing, I can’t wait to hear how it sounds... sorry about the tilted photos, I can’t seem to correct that. let me know what you think.
  8. Where can I buy a good set of viola fittings in the uk? thanks in advance for any help.
  9. So far I’ve been graced with all the violin makers I’ve met being very friendly and willing to help. I guess it’s not everyday that a 13yr old has an interest in violin making (though it does happen).
  10. I was thirteen when I started: I’d always been doing woodworking, but played the violin too, and decided one day to try making a violin. The father of a friend pointed me in the direction of a local violin maker, who sold me some tonewood and helped me with some harder parts, my parents were generous with books & tools
  11. It’s exactly these reflections I’m looking for- thanks! the Ashmolean museum book has great photos in this respect, which show the reflections of the varnish to highlight arching I find that if I polish my gouges, planes, etc, and get my scrapers very sharp, then it’s possible, with a bright lamp to see the reflections, especially when viewed almost side on. It’s not quite as good as varnish though...
  12. This is an interesting discussion- it’s exactly this area with which I have trouble, but it’s more the reverse of Andrea Guarneri’s problems in that I leave the arch too full in that critical region- thus too flat across the top eyes of the f holes. It’s something I have trouble visuallising but I think many of you are on point here. thanks @Michael Darnton For the photo, I wish more people laser scanned archings!
  13. Do people have any photos where the arching of the belly is easy to see? I’m particularly interested in the island and the upper bouts, and especially of del gesu instruments. this is a part of the arching which haven’t quite understood yet thanks in advance for any help!