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About chiaroscuro_violins

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  1. I recently worked on a violin that had chalk on the belly where the soundpost fits. I presume this means the person who installed it did a chalk fitting. I'd never heard of it before, but maybe I'm just naive. Assuming chalk is a viable way to fit a soundpost, I imagine the presence or absence of an end button hole is inconsequential. On a similar note, I've noticed a slightly burnished look on the soundpost ends where it makes contact with the plates. I primarily fit with mirrors, but I think I can use that to confirm I am indeed getting 100% fit. Do experienced luthiers ever use that trick? Is it just a red herring? If it is a valid method, then I suppose chalk wouldn't be necessary at all.
  2. I should have said the blade needs to be in plane with the axis, not parallel to it. I didn't mean to imply a cylindrical peg but I see why it was easy to read it that way.
  3. The edge of the blade, obviously. If the plane of the blade is not aligned with the axis of the peg, you won't get a very accurate taper. It'll take more off in the middle leaving you with a curved "taper."
  4. Making a peg shaver isn't too bad. The important thing is that the blade is parallel to the axis of the peg.
  5. Would this be the same as Wilhelm Ernst Martin?
  6. Looks like it's had an edge doubling in the upper bouts. See if you can notice it from the outside. I think I see the seam in your photos, but it'll be easier for you to see it in person.
  7. Is something wrong with the pegs it came with? What do you see to suggest that?
  8. Is the objective to end up with a quality instrument, or to learn how to do repairs? In my opinion, this is a good project for OP. Unless I'm missing something, it needs a lot of common repairs which have not been complicated by epoxy or warpage. The instrument is not valuable at all, so if she screws it up (pun lol) it's no great loss. However, it does have a better chance of turning out nice than the cheapest of the cheap VSOs. My first couple repair projects were extremely similar and I think it's a good way to learn.
  9. A neck graft may not be the most difficult job, but it's darn near the most critical. If you don't get an absolutely perfect fit, it isn't going to hold. I don't know what kind of experience you have, but I'm not an expert in a place to judge. Good luck, and don't take off too much wood at once.
  10. 1. It's free 2. It's fun to use 3. You can say you didn't use sandpaper I personally find equisetum easier for burnishing without changing the shape of the arch. It seems to smooth the wood without taking any off. But that's based anecdotally on my limited experience building 7 instruments, on all of which I used equisetum. Maybe I just suck at sandpaper.
  11. One of my teachers owns two violins by Marten Cornellisen. He is not the type to talk about his violins but it is clear how much he loves them. As an aspiring violin maker, I count myself lucky to have been exposed to the Cornellisen as much as I was. There are no defects in the workmanship, and I could listen to even just the open string sound for days. As yet, I have only admired the fiddles from a distance. I also played in a jazz ensemble with his neighbor, a trombonist. He will be missed.
  12. As an American maker, you'll just have to accept that in 100 years nobody will believe you ever put a tool to wood.
  13. No need to comment on the corners. On a separate note, you have done a really nice job cutting the purfling channel cleanly and evenly. Have you done the top plate yet?
  14. I don't have an opinion on the violin beyond whom I choose to believe in this thread. But the case being made for a markneukirchen origin is reasonable and thorough. It is always better to form conclusions based on evidence, than to speculate to serve a preferred conclusion (yours or someone else's).
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