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I was going to post my observations in the peg box but after a quick search found that the topic has been talked to death so I'm posting here because I find it interesting.  I've finished #1's set-up about as far as I can go before going to a workshop this summer.  I know I need to cut a new bridge, adjust the tail gut length (maybe) and probably cut and position a new sound post, but I'm happy enough with it for now.

In the past my son and I have done single blind (listener) tests with our combined three bows and three violins.  Both of us were easily able to hear which bow was being played with which violin.  In other words the character of both the bow and violin could be heard regardless of combination.

My bow is on the light side (57g) and very flexible which worked for my violin which for me is overly loud and requires a light touch to not blast my ears while practicing.  I've put this violin into semi retirement because I enjoy playing my #1 much more both in tone and because it's not soo loud that I can vary the bow pressure more, i.e. it's more fun to play. 

We tried out two of our bows on #1 (the third one is more of a club with hair attached to it) and we could not tell either bow apart as far tone.  I guess you could say the character of the violin dominated the character of the bows.  However, the two bows had a big difference in carrying power.  For example, I had my son play while I listened from across the room (about 20 ft.).  For him the bows sounded the same under the ear, but from across the room the lighter bow had very little carrying power.  I had to ask if he was trying to play softly.  He said no he was playing the same with both bows.  The other bow from across the room still sounded almost the same as if playing under the ear.  Fascinating for me, I hope that wasn't too boring for y'all.

-Jim 

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7 hours ago, lpr5184 said:

Very nice wood!  Density and supplier please...:)

Supplier is IVC.  I have the benefit of them being on my route home from work.  They let me go through their stock to hand pick whatever I'm interested in.  I'm careful never to make a mess!  This wood and the cheap wood for #1 I bought when I decided to start making is from 2012.  With this violin always intended for my son.  When I bought the wood I didn't even know to look for density.  Top SG = 0.34 (S. Chambers), Back SG = 0.64 (IVC), Neck SG = 0.62 (IVC). 

For the number crunchers, M5 on the Back is 356hz at 118g.  Top M5 is 366hz at 68g.  Not specific targets, just where things ended up.

-Jim

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8 hours ago, tango said:

It look nice Jim.

 

Thanks Tango.  Now you see why I was focused on your scrolls.  I was designing my own.  The body is based on the Titian, but the scroll is a Nicolo Amati pattern with the pegbox stretched a couple of mm, and some influence from a D. Burgess scroll in the Library of Congress.  I have big hands and I wanted just a little more room, and I find the Amati scrolls more attractive, although I can't say exactly why.  Although the pros will probably say it resembles none of that. :lol:

-Jim

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Ha ha Jim. Yesterday I knew an italian luthier who, while watching at my violin, asked me about what were the model I copied. I answered: well I make what I may not what I want ha ha

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Thanks Mike.  I'm partial to one piece backs.  My stash is evenly split, but I think all but one of 1 piece backs are viola sized.  I guess that means I have about 1/2 a dozen violas coming somewhere down the road.  Let's see how long it takes Dwight to sniff out that sentence. B)

-Jim

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Done in the white.  Now it's time for the varnish process to begin.  :unsure:  If I was just doing a repeat of #1 it would be easy.  Instead, like the knuckle head I am, I'm still experimenting on cut-offs with different methods and formulations.  Hi, my name is Jim, and I'm a varnnisholic.

595ba5114e07f_2finishedinthewhite.thumb.JPG.e79d06c60f0db53b352365d2a7dc4bc7.JPG

 

 

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34 minutes ago, Jim Bress said:

Done in the white.  Now it's time for the varnish process to begin.  :unsure:  If I was just doing a repeat of #1 it would be easy.  Instead, like the knuckle head I am, I'm still experimenting on cut-offs with different methods and formulations.  Hi, my name is Jim, and I'm a varnnisholic.

595ba5114e07f_2finishedinthewhite.thumb.JPG.e79d06c60f0db53b352365d2a7dc4bc7.JPG

 

 

awesome work! did you play it in the white? I find the varnish work the hardest part.

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25 minutes ago, carl1961 said:

awesome work! did you play it in the white? I find the varnish work the hardest part.

Thanks.  No, I varnish first then just string it up to standard specs with old strings. After about 3 months I'll get serious about setup and put new strings on.  #1 sounded pretty awful when I first strung it up.  It mostly sorted itself out after a month.  Maybe more knowledgable makers would be able to improve a fiddle in the white. I would just be throwing darts blindfolded. 

Jim

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Jim it's looking good! Hope the workshop with Joe Thrift was awesome. How much is your plate overhanging the ribs? The picture makes it look big.

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1 hour ago, Mike Spencer said:

Jim it's looking good! Hope the workshop with Joe Thrift was awesome. How much is your plate overhanging the ribs? The picture makes it look big.

Thanks!  Now that you point it out the overhang does look huge.  Just a weird picture effect.  Overhang is a tad over 2 mm.  Started at 2.5 mm before I started the edgework.  Joe's workshop was great.  Highly recommend it.  Mike Jones was our distance winner from Wisconsin.  I think Vermont would be doable. ;)

-Jim

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On 7/9/2017 at 8:44 PM, Michael_Molnar said:

Looking good. Got my fingers crossed for you.

I'm crossing my fingers and toes.  Varnishing cut-offs is turning out to be more challenging than expected.  Using my spirit varnish I can nail my sons target color with ease.  However the optical properties are much better with the bit of varnish that Joe Thrift gave me.  I don't have much more than will allow me to varnish a single violin so I'm trying to be very frugal with my testing.  Also, as I'm approaching the right look with my spirit varnish the layer just goes bad and tears into the layer below.  This is the same batch I used last year and I think it's going bad.  So now I'm trying to add color to my ground to push the oil varnish (perceived) color in the right direction. I'm close, but not quite there.  The violin will be tan enough to start varnishing this weekend.

-Jim

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