Guy Harrison Posted March 25, 2019 Author Report Share Posted March 25, 2019 Quote Link to comment Share on other sites More sharing options...
Nick Allen Posted March 25, 2019 Report Share Posted March 25, 2019 Just beautiful. Quote Link to comment Share on other sites More sharing options...
Michael K. Posted March 25, 2019 Report Share Posted March 25, 2019 Excellent! Quote Link to comment Share on other sites More sharing options...
Rue Posted March 25, 2019 Report Share Posted March 25, 2019 Pretty! Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted March 25, 2019 Author Report Share Posted March 25, 2019 Thank you! Quote Link to comment Share on other sites More sharing options...
Urban Luthier Posted March 25, 2019 Report Share Posted March 25, 2019 Stunning! Quote Link to comment Share on other sites More sharing options...
Thomas Coleman Posted March 26, 2019 Report Share Posted March 26, 2019 very nice Quote Link to comment Share on other sites More sharing options...
Bill Merkel Posted March 26, 2019 Report Share Posted March 26, 2019 You could contribute a lot by sharing your antiquing secrets! One missed opportunity is some rattiness, similar to the lower back, on the upper left of the back and ribs and especially plate edges, where the left palm would have rested for years with the fiddle on the knee while the conductor rattled on. And during long rests. Quote Link to comment Share on other sites More sharing options...
scordatura Posted March 26, 2019 Report Share Posted March 26, 2019 Very nice. Your antiquing skills are first rate! Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted March 26, 2019 Author Report Share Posted March 26, 2019 13 hours ago, Bill Merkel said: You could contribute a lot by sharing your antiquing secrets! One missed opportunity is some rattiness, similar to the lower back, on the upper left of the back and ribs and especially plate edges, where the left palm would have rested for years with the fiddle on the knee while the conductor rattled on. And during long rests. Hi Bill, with this violin I was copying a particular instrument, so the upper bout of the back represents this. Sometimes the way a certain instrument ages is a little surprising. It doesn’t follow the formula we’re use to. As for sharing antiquing secrets, most of what I know is available in the Strad magazine, VSA articles and here on Maestronet. (I keep a few things for myself, since they are works in progress anyway) The key is working out methods that works for you. I have my antiquing method written down in the workshop and almost every time I antique an instrument I tweak the method or make notes for next time. This helps me head in the direction I want. The other “secret” is to see inspiring instruments, then take careful notes and photographs etc. I’m fortunate that I have some amazing instruments coming through my workshop from time to time. But the Untied States has some wonderful museums - National Music Museum (South Dakota) , Library of Congress, Smithsonian, among others. Have you visited these museums and seen their collections? I don’t drive but I still managed to visit the National Music Museum in South Dakota by public transport! - so no excuse not to visit these places!! Quote Link to comment Share on other sites More sharing options...
Bill Merkel Posted March 27, 2019 Report Share Posted March 27, 2019 I haven't seen any of the collections you mentioned. I did go right by the NMM a few years ago, before I learned of its existence. So the bus goes all the way there, eh? Quote Link to comment Share on other sites More sharing options...
christian bayon Posted March 27, 2019 Report Share Posted March 27, 2019 I think I know your source of inspiration for this violin! Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted March 27, 2019 Author Report Share Posted March 27, 2019 7 hours ago, christian bayon said: I think I know your source of inspiration for this violin! It's a nice fiddle! (and great sound in the right hands) Quote Link to comment Share on other sites More sharing options...
Urban Luthier Posted March 27, 2019 Report Share Posted March 27, 2019 20 hours ago, Guy Harrison said: Hi Bill, with this violin I was copying a particular instrument, so the upper bout of the back represents this. Sometimes the way a certain instrument ages is a little surprising. It doesn’t follow the formula we’re use to. As for sharing antiquing secrets, most of what I know is available in the Strad magazine, VSA articles and here on Maestronet. (I keep a few things for myself, since they are works in progress anyway) The key is working out methods that works for you. I have my antiquing method written down in the workshop and almost every time I antique an instrument I tweak the method or make notes for next time. This helps me head in the direction I want. The other “secret” is to see inspiring instruments, then take careful notes and photographs etc. I’m fortunate that I have some amazing instruments coming through my workshop from time to time. But the Untied States has some wonderful museums - National Music Museum (South Dakota) , Library of Congress, Smithsonian, among others. Have you visited these museums and seen their collections? I don’t drive but I still managed to visit the National Music Museum in South Dakota by public transport! - so no excuse not to visit these places!! Seeing one of Guy's Strad model cellos first hand I can say his varnish and gentile antiquing are among the finest i've seen! (the cello sounded fantastic as well Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted April 19, 2019 Author Report Share Posted April 19, 2019 This violin just left my workshop today. Not a copy of any particular violin but Strad inspired. Quote Link to comment Share on other sites More sharing options...
Rue Posted April 19, 2019 Report Share Posted April 19, 2019 More pretty!!! Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted April 21, 2019 Author Report Share Posted April 21, 2019 On 4/19/2019 at 4:18 PM, Rue said: More pretty!!! Thanks! This is what I'm working on now - two violins and just starting to varnish a viola. Quote Link to comment Share on other sites More sharing options...
Urban Luthier Posted April 22, 2019 Report Share Posted April 22, 2019 Really nice Guy! -- is that 1/2 MDF you are using for the form? Quote Link to comment Share on other sites More sharing options...
Thomas Coleman Posted April 22, 2019 Report Share Posted April 22, 2019 Also, do you mind saying a bit about the anti-split plug you have in the lower block? Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted April 22, 2019 Author Report Share Posted April 22, 2019 2 hours ago, Urban Luthier said: Really nice Guy! -- is that 1/2 MDF you are using for the form? It's not MDF. It's layers of thin plywood (http://www.leevalley.com/en/wood/page.aspx?p=32736&cat=1,250,43217) which I glued together flat with epoxy. I wanted a form that could be easily shaped and also stay flat with no warping. There's many ways and different materials that could be used for this - this was my method for number of forms in my workshop and it's worked well. Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted April 22, 2019 Author Report Share Posted April 22, 2019 28 minutes ago, Thomas Coleman said: Also, do you mind saying a bit about the anti-split plug you have in the lower block? The "bushing" in the lower block is not really to stop the block splitting. (though I suppose it might help with that) It's a hard boxwood bushing that helps keep the endpin from shifting up, from the tension of the strings. I wanted the collar of the endpin to stay well fitted against the rib. So the bushing helps keep the endpin solid and stay well fitted over time. I fit and glue the bushing before I spot glue the lower block to the form. It's quick to do. Quote Link to comment Share on other sites More sharing options...
Urban Luthier Posted April 22, 2019 Report Share Posted April 22, 2019 3 hours ago, Guy Harrison said: It's not MDF. It's layers of thin plywood (http://www.leevalley.com/en/wood/page.aspx?p=32736&cat=1,250,43217) which I glued together flat with epoxy. I wanted a form that could be easily shaped and also stay flat with no warping. There's many ways and different materials that could be used for this - this was my method for number of forms in my workshop and it's worked well. thanks Guy -- what a great idea! I use the thin stuff for making templates. Laminating 3 layers of the thicker stuff must make a really stable, dense and durable form! Quote Link to comment Share on other sites More sharing options...
Thomas Coleman Posted April 22, 2019 Report Share Posted April 22, 2019 5 hours ago, Guy Harrison said: The "bushing" in the lower block is not really to stop the block splitting. (though I suppose it might help with that) It's a hard boxwood bushing that helps keep the endpin from shifting up, from the tension of the strings. I wanted the collar of the endpin to stay well fitted against the rib. So the bushing helps keep the endpin solid and stay well fitted over time. I fit and glue the bushing before I spot glue the lower block to the form. It's quick to do. Makes sense. I know that there has been talk on here about fitting a carbon fibre ring that would take up the same perimeter of real estate as your bushing but I couldn't remember the context of that thread. In guitarmaking, it is not at all uncommon to use either plywood for the lower block or to laminate a cross grain piece of spruce onto it. Of course, with no edge margin and just by the way the instrument is used and handled, guitars are more prone to splitting in that location. Is your bushing spruce? Is it taperfit? Quote Link to comment Share on other sites More sharing options...
Guy Harrison Posted April 23, 2019 Author Report Share Posted April 23, 2019 15 hours ago, Thomas Coleman said: Makes sense. I know that there has been talk on here about fitting a carbon fibre ring that would take up the same perimeter of real estate as your bushing but I couldn't remember the context of that thread. In guitarmaking, it is not at all uncommon to use either plywood for the lower block or to laminate a cross grain piece of spruce onto it. Of course, with no edge margin and just by the way the instrument is used and handled, guitars are more prone to splitting in that location. Is your bushing spruce? Is it taperfit? Hi Thomas - The bushing on that violin is in boxwood. I've also used maple and ebony (I recycled a few old cello pegs). The hole in the block is reamed out with a cello peg hole reamer. And the hardwood bushing is shaped in a cello peg shaper. It's a good idea to first ream the hole to size in the lower block and glue size it. Let it dry. Then give a few turns with the reamer to neaten up the hole and glue the bushing in for a perfect fit. Quote Link to comment Share on other sites More sharing options...
Thomas Coleman Posted April 23, 2019 Report Share Posted April 23, 2019 @Guy HarrisonHaha, I guess it wouldn't make sense for the bushing to be spruce. I really like the idea. Keep up the forward thinking and the beautiful work. Quote Link to comment Share on other sites More sharing options...
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