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Cute house!  Cute viola.

 

I have to ask...why is there duct tape? on the pegs?

Thanks!

 

I set the pegs to have the heads in line (and not at the same distance from the pegbox wall). As they are not identical in diameter, I mark them to avoid confusion when they are rolling around on my bench.

 

I would consider charging extra should a customer want me to leave the masking tape on as a customisation.

 

It´s not difficult to play with clearance bow at the CC bouts?

 

Good point - that is why I strung it up early (I have not made a 16 1/2 before).  There is plenty of clearance when the bow is playing the outer strings, but the right arm needs to be held up 'more' when playing the A. I also have a highish bridge (39mm).

 

Dimensions:

Length of back: 417mm (16 7/16")

Upper bout : 208mm

C bout: 150mm at upper holes of F

Lower bouts: 260mm

Bridge at 225mm from top edge

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Thanks!  Makes perfect sense!  I just needed to know that it wasn't some 'secret Strad' device! ^_^

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What brand is the bending iron?

 

No-name Chinese with a digital thermal display.

 

The profile is excellent for my use.  I like the flat back as the straight reference is helpful when correcting over-curvature.

 

ps - I am not electrically-minded enough to check the circuitry, so I turn it on under close supervision.

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A couple of weeks ago - now in the 70s.

 

And just for fun - from Red Nose Day:

 

(You have to be an aficionado of Little Britain/USA, to appreciate the depth...)

post-24474-0-88382900-1426457255_thumb.jpg

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I never thought about cutting out a cello bridge.  Goes to show us how we just like to buy everything we need.  I have cut a couple of violin bridges out with a fret saw.  I imagine a jig saw, would be easier.    Our snow is mostly gone now, but we haven't even hit 60 yet, and they say maybe some snow on the weekend.  I like the bridge on the left.  Very nice shape.

Where do you find suitable wood?

Ken

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Hi Ken

 

I cannot take any credit for the cut-outs.  That's how Despiau used to sell them when he started (monogram on cello bridge on right gives the game away).  He received some complaints that the laser cutting left the edges dark.  The process has now changed, so no dark edges!

 

I have seen uncut bridge wood sold, but never had the courage to spend any time thinking the 'evil' thought.

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These 2 backs came from the same log and have the same linseed oil-colophony varnish (different pigments).

 

I used different sealers: Robson balsam ground for the one with pits and Plaster of Paris mixed to a paste with the varnish for the one without pits.

 

They were varnished at about the same time.

post-24474-0-77210500-1427652707_thumb.jpg

post-24474-0-93690500-1427652718_thumb.jpg

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My own Marciana 2010 linseed-colophony with prior help from Ertz and Cockburn.

 

ps It is very transparent, but this does not come over with the light angle needed to show the pits.

 

pps - Neither sealer-ground was associated with any pits on the spruce or the ribs.

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Do you plan on revarnishing the first one or antiquing it or what? Are you happy with the effects of the PoP?

The left one in post #67 will wear gracefully.

 

PoP seems fine - does its job of sealing.  Joe Robson would argue that it fills the pores too well.

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And here is another one with Robson balsam sealer-ground.

 

Wood from the same log and same varnish, but this time the fine pits are barely visible on the varnish/wood irregularities.

post-24474-0-30174500-1427751116_thumb.jpg

post-24474-0-87868500-1427751207_thumb.jpg

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