Anthony Panke

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  1. This is useful information for me. I am planning on making a batch of this stuff and have no experience with it. thanks very much, Anthony
  2. Same. I bought 50 strips a while ago and was pleased with the quality. Some difficulty bending but I have since improved and find it easy enough. The blacks are quite intense. Alternatively you could ask nicolo Amati, his purfling has intense, thin blacks. In regards to dying, I think Roger Hargrave might have written about it. best of luck!
  3. Then I’m jealous Out of interest, what metal do they use?
  4. I have always wanted to try inlaying a decoration with brass, perhaps in the tailpiece. Brass filings and epoxy or similar. How does garlicking work, and does it repel vampires? How about purfling with a trapezoidal cross section that dovetails itself into the channel via the gap made by the neck recess and the saddle? There would be room at the corners to insert c bout purfling first. No idea how stability is affected, or how to cut an accurate trapezoidal channel without chipping pieces out, but it works in theory. Would solder work or would it burn the wood? I reckon uv light would help oxidise silver when tanning the wood. There are my thoughts, best, Anthony
  5. All the more respect for such results- and whilst holding a camera! I can only commend you for your bravery in undertaking such a thing
  6. Cutting downwards is risky. good results though- filing with a small file seems like a good idea
  7. Same thing, very nice work. I tend to see a rectangle on your belly arch. It looks deliberate but I’m curious as to why. I really like that corner though, and your wood choice
  8. Don’t know about strength but I would always follow the cut of the wood, ideally with an offcut from the neck block.
  9. Wouldn’t this mean that contours of height above the rib surface would be more accurate, assuming one corrects the deformations?
  10. No, but we can attempt to recreate it by observing the wood structure , typical stress deformations and the intent of the maker. I’m just interested in how one would model archings from non flat plates
  11. I can’t help noticing when looking at the alard amati poster, that the back arching height differs when measured from the long arch , to when measured from the central cross arch. 17 to 15mm this is caused by non flatness of the rib structure due to warping, isn’t it? which arch is more reliable? how can I resolve this problem?
  12. How it should be done. beautiful work!
  13. There must be a way to make these oneself (or something similar)
  14. You could consider writing to larsen as they might send another string
  15. I bought this book 2 weeks ago and it is amazingly detailed. The recording really shows the violin off