I've been watching for a few days now. I decided the other day to try the method out. I usually use my inside out method; creating the arch from the inside first. I don't do mine like your fellow countryman Torbjörn Zethelius. I've even done archtop guitars using it.I have used area tuning a lot, and it is the same as the scratching/tapping that you do here. I never though of going on both sides. I have a nice piece of birdseye, yes it is heavier, and a piece of bear claw sitka, I don't have a poster. I have 2 photos from ads for Bishop strings in The Strand that shows MOST of a Guadagninini viola that they say was the finest they've had in the shop. Of course. But, it looks nicer than the PLUMP Guad viola poster! And. The birdseye is just big enough. I'm in Michigan, USA, and Sunday we have a MVA zoom meeting with Ben Hebbert presenting on the Strad Messiah. I really miss the live meetings. But they killed that. It was the only way that an amateur had access to good/great violin makers. There are quite a few very good makers in Ann Arbor that have been at meetings. I redid my drawing of the pattern. It was garbage. Now it looks pretty good. I might make a blog of it. "Will it work?" I have aviolin making blog, but haven't done much with it. I just do my devotional blog now. I'm just a hobbyist, a retired machinist the same age as you. Retired just before the nonsense, when they wanted me to work 12 hour days, 5 days a week, and maybe weekends too. Very interesting videos. You don't suck at it. Your English is very good. I try to help you find the words, but you don't hear me! Thank you Peter.
I’m curious to know how you think the market would react if you went with an approximation of the original bright red finish rather than mimicking a faded finish? Is that too much for even the fussiest traditionalists?
I've been watching for a few days now. I decided the other day to try the method out. I usually use my inside out method; creating the arch from the inside first. I don't do mine like your fellow countryman Torbjörn Zethelius. I've even done archtop guitars using it.I have used area tuning a lot, and it is the same as the scratching/tapping that you do here. I never though of going on both sides.
I have a nice piece of birdseye, yes it is heavier, and a piece of bear claw sitka, I don't have a poster. I have 2 photos from ads for Bishop strings in The Strand that shows MOST of a Guadagninini viola that they say was the finest they've had in the shop. Of course. But, it looks nicer than the PLUMP Guad viola poster! And. The birdseye is just big enough. I'm in Michigan, USA, and Sunday we have a MVA zoom meeting with Ben Hebbert presenting on the Strad Messiah. I really miss the live meetings. But they killed that. It was the only way that an amateur had access to good/great violin makers. There are quite a few very good makers in Ann Arbor that have been at meetings.
I redid my drawing of the pattern. It was garbage. Now it looks pretty good. I might make a blog of it. "Will it work?" I have aviolin making blog, but haven't done much with it. I just do my devotional blog now. I'm just a hobbyist, a retired machinist the same age as you. Retired just before the nonsense, when they wanted me to work 12 hour days, 5 days a week, and maybe weekends too.
Very interesting videos. You don't suck at it. Your English is very good. I try to help you find the words, but you don't hear me!
Thank you Peter.
I’m curious to know how you think the market would react if you went with an approximation of the original bright red finish rather than mimicking a faded finish? Is that too much for even the fussiest traditionalists?
No answer to that.
Hi... i have questions what pain did you use? Can i got in online shop? What is the name?
Hope you can help me than'k you
I don´t quite follow you.. "pain"... If you mean paint, it is either "madder lake" or "transparent red oxide".
He's using Rembrandt brand artists oils. They are widely available. Quite high quality.