What's on your bench? (mk5)


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Lars, thanks.

I put the lower and upper bouts purfling in first, then the C bouts, so I can line up both sets of mitres exactly.

By 'line up marks' I mean a few short biro lines I mark on the plate and purfling before gluing, helps to get the mitres right.

Melvin, nice looking varnish. (edited from 'tastey to nice' after reading about luthiers nose oil)

Where dya get the amonia casein from, please ?

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Where dya get the amonia casein from, please ?

Hi Ben. Casein blends with various alkaline solutions really easily to different effects and will dissolve in weak ammonia to make a size , the consistency of which can be controlled by the ratio of the mix(es)..I get my Casein from Kremer and Ammonia from local Lab supplies or even household ammonia from a home dept store will do for a size.....I'd not recommend a casein sealer necessarily...this was just what I used on these samples

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Lars, thanks.

I put the lower and upper bouts purfling in first, then the C bouts, so I can line up both sets of mitres exactly.

By 'line up marks' I mean a few short biro lines I mark on the plate and purfling before gluing, helps to get the mitres right.

Thanks a lot for the explanation Ben!

Really hope to see some more of that instrument

/Lars

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Lars, thanks.

I put the lower and upper bouts purfling in first, then the C bouts, so I can line up both sets of mitres exactly.

By 'line up marks' I mean a few short biro lines I mark on the plate and purfling before gluing, helps to get the mitres right.

Melvin, nice looking varnish. (edited from 'tastey to nice' after reading about luthiers nose oil)

Where dya get the amonia casein from, please ?

Biro!!! on a violin!

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dave the chin rest on the one looks very high, is there any problem with leverage with the height/base ratio? nice looking work. congrats.

The overstand also appears to be exceptionally high on that one.

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Thanks for the encouraging words!

Good eye on the one violin. That is the first, and very much a non-standard experiment. The violin is also rather asymmetrical.

That chin rest is something custom I made years ago. I don't like using shoulder pads, and back when I was younger and thinner I had quite a crane neck on me. This chin rest served me well. Now however, I can get along with a standard chin rest when need be.

In that first violin, I let the build proceed very flexibly. I planned to keep the first instrument for myself, and saw it as an opportunity to get a better feel for limits and functionality in the build. The end result is asymmetrical and very free. Surprisingly, it feels relatively normal in the hand when played. The FB is very thin also, and has a bit of a maple wedge under it. Later I will restring it in gut for period playing.

I didn't indulge in the same liberties with the second instrument, or the others in process now.

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Ben you get bored over there with the weather I can always throw down another bench downstairs HAHAHA... Just kidding.

I might have just lost my mind today giving quote for a client in ontario for an upright bass. They want to trade in a viola I made for a downpayment on a bass... Wow talk about introducing them to the dark side... what did I do to them?!

Now i'm debating flat back or arched or Parnomo or Thomas Kennedy model or what type of lovely juicy nasty boss hog I want to throw down. This aint no chin cello folks! HAHAHA. I'll be honest I hope the details shake out on this one and the quote goes through... would love to see this one go through to completion. (Connor Russel I hear you have an upright bass on your bench right now?)

Cellos are one thing but MAN... why cant we skip the upright and just jump to the Octobass

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On my bench today is a copy I made for the owner of a Goffriller viola who is a fine musician....In the final set up of my copy I 'corrected' some of the set up on the original to conform to conventional standards......Now I have just carefully re corrected the set up to be like the original as my customer prefers it....I have no problem with this especially as the client is very fine musician and conscientious client

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