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What's on your bench? (mk6)


Jeffrey Holmes
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Hi Joe:

Do you ever do a straight varnish job and then tear back?

To my eye (if done well) they look more "natural" than shaded from application varnish jobs. I don't know what it is... more 3D thickness changes... more "breaks" and overall complexity of film thickness?

Best regards,

E

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Hi Joe:

Do you ever do a straight varnish job and then tear back?

To my eye (if done well) they look more "natural" than shaded from application varnish jobs. I don't know what it is... more 3D thickness changes... more "breaks" and overall complexity of film thickness?

Best regards,

E

Ernie,

Not in a long time. If I go through the process of a straight varnish...which I think is very difficult to do well...then I don't want to mess it up. I worked that way when I started out learning to varnish instruments...mostly because the people I was learning from did it that way. The result wasn't me. It always came out looking cartoonish or over-worked. Then there is the economy of motion thing....I like the simplicty of creating the surface this way. I do work the surface a bit when the varnish is good and dry. I like a variation in sheen.

I do understand what you see in this techique...it gives a real chance to bring a lot of interest to the surface. Maybe someday I will crawl back into hiding and learn to do it right!

on we go,

Joe

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Stanley Ball Vise - They are trash - ordered it awhile back ago on amazon I believe some 9 months ago. The threads on the inside are wearing out and shearing and it gets stuck on the clamp part.

I wish bogaro and clemente would come out with a mini-version of something like this. Half tempted to order another ball vise from bogaro and clemente and get a nicer clamp vise and mount it to it. - I have thumb screws in my bench ive drilled where my pins for my half templates also hold my moulds while I am gluing ribs and linings and such... but I love this clamp while working scrolls and such, or details on pegs, end buttons while working custom fittings...

I use this little stanley quite a bit but its simply wearing out and a pain to adjust.

post-28844-0-99811500-1355886648_thumb.jpg (sorry the photos are not rotating for some reason)

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Yah, was some nice maple I had set aside. 2 necks will get carbon fiber reinforcements which will really be nice. Cant wait to have this batch done as the del gesu influenced model with the reinforcement is the first of my 2013 models i'll by using on violins. Come feburary i'll relax a bit and finally catch up. Coffee in hand and glue is warm.. Cheers.

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Yah, was some nice maple I had set aside. 2 necks will get carbon fiber reinforcements which will really be nice. Cant wait to have this batch done as the del gesu influenced model with the reinforcement is the first of my 2013 models i'll by using on violins. Come feburary i'll relax a bit and finally catch up. Coffee in hand and glue is warm.. Cheers.

Ya I had that happen the other day, coffe, warm in one hand, glue pot warm in the other, and well just for the record, hide glue is not coffee and it is not the best part of waking up! :lol:
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This is not what's on my bench, but rather a whole lot of what's been on my bench over the last few years. I just finished editing and tediously labeling everything in my www.photobucket.com photo archives, over 500 pictures of about 30 violins I have worked on and had through my shop, all sold now. Unfortunately the new photobucket format chops up the thumbnail picture so you only see about 1/3 of the full frame, but once you click it on you see the larger full frame picture, then you see small full frame thumbnails on the bottom and you can click < or > to go from pictures to pictures and click on the thumnail to see full frame. Not all the repairs are done by me, of course, as if the instrument plays fine and is structurally sound, I dont usually pull instruments apart just to make crack repairs look better(although I know a lot of real professionals do just that). Here's the link to my photos;http://s102.photobuc.../taylorviolins/

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I've recently been experimenting with willow for the back and ribs of this 41cm model viola. I obtained a tall wedge of Italian red willow while visiting Rivolta in Milan. It is the same wood I use for blocks and linings. It is a pleasure to work with. I keep the ribs a healthy 1.3 or so. The back is about 8mm in the center and never goes under 2.5. The viola is noticeable lighter in weight than the same model in more thinly graduated maple. The sound is less bright but focused. The willow was a pale salmon pink before varnishing but took on a golden hue almost immediately after a few coats of cooked venetian turpentine/linseed oil varnish. I enjoy the ease of working with willow and some players enjoy the lighter weight of the instrument.

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A few quick shots of the three fiddles I'm currently working on. It's cold and snowy here and I didn't get to work in the shop today. It's to cold to think about gluing the finger board or the back on the ribs tonight. I'll set up an extra heater tomorrow and get the shop really warm. Let the gluing begin. I'm getting anxious to hear the Strad model that I have varnished. I'll glue the fb on tomorrow and finish setting it up the first of the week.

The back on the left is red maple and the one on the right is European. The red is about 10g heavier. We'll see how the sound compares. They are DG models and are pretty close matches. The top wood for these fiddles came from the Skinner's auction and is pretty old stuff. It was split and is SUPPOSE to be European. I've made two or three fiddles out of this same stuff, they all turned out very good.

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