Greg Sigworth

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About Greg Sigworth

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  1. Don: If it is still for sale I will buy all the glue and the bridges as you stated. I can be reached at I would be glad to send you a check at the address you give me and you can ship after the check clears. Greg Sigworth
  2. On my first violin I made patterns from thin aluminium sheet and I still have these. They were the front plate and longitudinal and transverse patterns and the neck and scroll pattern. No mater how you make these you still have to get down to the line you want to end at. I put the original paper pattern over the metal, used a heavy needle to transfer the line to the plate with pin pricks every 1/8" or less when needed on sharp curves. Then with a good sharp utility knife I connected the dots with a good scribed line between them. Go slow on this. This could have multiple passes. The metal when worked between the two hands easily fatigues quickly and splits on the scribed line. This results in a very good accurate pattern. A wood block with good sandpaper is used to smooth the edge. Any roughness or deviation from the desired shape is no greater than half the width of a fine pencil line. Also, if your first attempt fails just get another piece of metal. No scissors or cutting with bent over edges, no saws to use. This takes a little bit of time but is simple and worked for me. I still have some of these original patterns. They were simple to make and very accurate.
  3. Just curious: Did you look on the inside. Is the bass bar even there. A slab section would have more stiffness to resist the pressure of the bridge bass side. Just wondering?
  4. Joe: I made Fulton varnish in 1980's of the amber thru dark brown variety and have used it on the five violins I have made using UV lights to dry. I still have this batch and it is as good today as it was then. I guess it is all I know. But I did not make any of the red variety which is a little more difficult. I have had to add an alizarin crimson red to the browns to give a red tint. I live in the Syracuse NY area and I have thought about coming down to see you and learning more about the current violin varnishes. Is this possible? I like the Fulton varnish because it appears to not be too harmful to the sound of the instrument and goes on in thin coats. Some varnishes, especially the commercial ones, are like coating the violin in 3mil plastic; quite deadening to the sound. I use a sealer/ground to prevent the varnish from penetrating the violin. I have found the red color to be difficult to use to get the desired result, either a red which is not pink or a nice golden brown with a hint or orange in it. The Fulton is possibly brittle an apt to chip if hit but that is better than the plastic coating of normal varnishes. Well anyways, that is my interest. Thank you for your interest.
  5. Does anyone know where I can buy Fulton Varnish that has been made to be red in color? Actually, I would also be interested in Fulton varnish which is various shades of brown also.
  6. I learned violin making by my self in the 80's and C. Hutchen's work on tap tones was the forefront of making. The question is does this help? Maybe does in that it helps making the plate thickness not too extreme. I have noticed that the clear ringing tone mentioned on the #5 mode is almost always because the #2 mode is close to an octave below it. The plate is actually held where the two nodes cross. This reinforces the #5 pattern so that is rings longer. When the plates are continued to be worked on it is very difficult to keep these an octave apart and the clear ringing tone is less present. You are actually hearing two modes at once and gives the idea of a clear ringing tone. From the articles in Strad it seems that the Cremona instruments did not have this octave relationship with the #2 mode being lower than needed. I still check the patterns and write down the frequencies but not sure if it is a waste of time.
  7. Above my pay grade. You may want to look at a Strad or Guarnari F hole pattern to see how it looks. I have some Strobel material but nothing having an F hole pattern.
  8. Sorry Violadamore, I did not mean to not give you credit. I assumed that when I cut and pasted it it would be obvious that it was from you. I don't know how to use the "quote" option you indicated. I will find out how though. I am glad you liked the comment. And that also is not unique to me. It came from a dear friend Thomas A. Thomas.
  9. The location of the F holes is quite well established. Your picture does not include the overhang of the top plate and the thickness of the ribs. When they are in place the F holes will look different. The Guarnari F holes seem to be longer even though the round holes are in normal place. What pattern are you following? Stradivari or Guarnari? If you deviate from the accepted/proven location for your F holes everyone will notice it. There is plenty of play in the F holes without doing what you are thinking about. When looked at the F holes from above the top are they parallel to each other or do they grow closer as the upper holes are approached. Also, when viewed from the side of the instrument is each F hole opening parallel to the top plate or does it go down towards the plate edge as the top hole is approached. Lot to think about here and adjust and still have the general correct location located as you have described.
  10. You guys left out the probably vigorous encouragement that Katarina would undoubtedly have contributed to getting his substandard, underperforming rear in gear. It appears probable that she arrived in Cremona with the Austrian Army, and seems to have become a competent luthier herself, which suggests that she must have possessed a great deal of "character", and most likely a vocabulary and delivery to match. "Behind every great man............." ......... is a surprised mother in law!.
  11. Mr. Maberry thank you for the explanation about the nut. I did not read carefully. It is amazing how a violin in well tune effects the overall sound. The strings respond to one another well and are not in a sort of discord.
  12. If you are refitting the E string to the top of the bridge and you are not using one of those tubes you might try putting a parchment piece on the top of the bridge first and then put the e string on. It will help reduce the string cutting into the bridge and it may dampen the string sound a bit and reduce the sound you hear.
  13. If no one is using leds they probably don't put out the intensity of light needed. Leds would give off a lot less heat which might be a good thing; especially in the warmer weather. I use bulbs purchased at Lowes store; four, four foot bulbs. I looked into bulbs but they did not seem to give off the light of the tubes. Where did you hear about leds?
  14. I have played the cello since a child on the same instrument which my father bought for me. It took me a long time to realize that it is not that great an instrument and a better instrument makes a big difference. The young man has to believe in looking for a new instrument and the best thing is for him to try some really nice instruments and be convinced himself that we wants a better instrument. If he is good on the cello he will see the difference and want a new instrument. Maybe he has some emotional connection to the present cello; he can keep it and still get another. Get him to try different cellos and give him time to think about it.