Too Weird - What's Next?

That is pretty much the syopsis of the judge at the VSA yesterday. She didn't like the varnish (no one did). I don't even like it completely, I LIKE that it is BOTH gold and red, but it needs to be smoother, and not texture on steroids. But at least it isn't boring. Weird is better than boring, isn't it? She didn't like the long corners (no one did). But that is what Montagnana put on it, just like on his cellos. She didn't know what a Montagnana model was. (Maybe I said it wrong, is it pronounced Mon' ta na' na?) Really? Are you serious?

I am just a bull in a China Shop.



I look for the instruments that have something different. Bigger f holes. More slanted f holes. F holes that have big gaps when looking at it from the side. Cool maple wood that isn't just evenly spaced stripes; sorry, I really don't like that at all. Some of the pegboxes were wide, some where narrow, some were tapered. I hope there isn't a standard for that too. If so, the tapered ones I like are probably held in least regard. Big fat ones are probably the favorites. There weren't many that differed by more than 1 millimeter.

I think that is a shame. Yawn.

Let's look at the violas, they will be different. Well, a little bit. There were a few that had a different outline; but nothing with wicked deSalo f holes that say, "Outa my way sucker." There were a few with high arches. One had double purfling, but I don't think it had the lily embelishment.



The cellos are very hard to see. Laying down on a table is a terrible way to view them. They need stands; that would be much better.

All in all, there were a lot of beautiful instruments. The Peter of Mantua for 1708 was the best I saw, but then again it is worth way more than anything else. But the arching of it was not typical of anything else I saw in there. It had more deeply cut edgework, and a higher arch besides.

Will I succomb to the norm. No, I don't do normal. But I HAVE to do WAY better. I bought some brushing solution from Joe, so that should help. I found a great method for applying the varnish; on the last coat; so that should help. I don't plan on being rushed, so that should help. My next violins seem to be much simpler: the Plowden and the latest Strad poster, the Beta, or something like that. Both of them have much different archings than the Montagnana did. And I still have the two violas to finish, and they are both different from anything I saw at the show.

Maybe a Gagliano cello? Who knows?

Ahh, diversity.

Ready? or Not?

Well, the violin is done. Am I happy with it? No, not entirely. Some parts I like. My fittings are decent, I think. It could be a dumb thing to make ones own fittings, but if you can do it with finess, you might be able to pull it off; otherwise it is a distraction. My archings are decent. I think that is one thing that I can actually do right. The wood looks cool, but even though some parts of the varnish look cool, I'm not entirely pleased. Maybe the varnish needs to be just a tiny bit more flowing? Maybe I'll see Joe, he says he has a new flow enhancer.



The sound seems good. I don't play, I really should learn, at least a little. I can make lots of noise, and I get a feel for the instrument that way. The other Montagnana I have strung up with Dominant lights. It has a reliable, clear, simple sound. To me it sounds like a student violin; no surprises. It does still sound a little woody on the G, especially higher up; (it was worse with the regulars, the lights were a Godsend for it) but nothing outrageous. This one is different. It seems more like a caged animal. Is that a good thing? I would think so. Who wants a plane Jane? The sound is much more complex, and both darker, and more brilliant.



I have Warchal Brilliants on it; maybe they are. I put Karneols on first, and the G seemed too flabby. Moving the soundpost in where it belongs (I just popped it in because I was anxious to string it up, and it was about a MM too long) helped a bit, and I was going to decide between the two; but the E loop on the Karneols broke. My choice was easy.

I have a thing for breaking the little piece that hangs down in the top cut out of a bridge. I have no idea what it is called, but for some reason I have broken 3 of them off! I've only cut six! What gives! I take the pragmatic approach, and turn it into a heart and call it good. Now don't get me started on bridge blanks. Why do they give you 8 mm or more on the top, but there is barely enough to sneak up on the bottom fitting so the inside foot is still there. This one barely made it, and I didn't have another. Come on guys are you kidding me? Why is the bottom cut flat instead of with an arch? I haven't seen any flat top violins. It just doesn't make any sense. Are there any brands that have a decent amount of stock on the feet? I should buy a bunch so I have them around. How about ones with a reinforced thingy that hangs down in the center cut out? No?



All in all, at least it is the best I've done. I need to find out how to make better scrolls. I've never really looked at one in person; I mean really examined it. And I don't have any around; except mine! I get the basics done, but something is missing. What is it?