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C.B.Fiddler

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Everything posted by C.B.Fiddler

  1. I feel as if we're saying the same thing. If a ferrule is worn or thin, it will distort, regardless of material. My observation is that the distortion of a healthy ferrule would be more related to the cut/fit/installation technique than the choice of material. Basswood has been used successfully for a very long time by master makers and repairmen, internationally (I've spoken to Hill-trained makers that recalled dumpster-diving behind piano shops to reclaim basswood piano keys for spread wedge material). I'm happy to to defer to your considerable experience, of course.
  2. A well cut/fitted spread wedge of basswood/willow/mahogany shouldn't distort the ferrule, well-cut being the operative factor. If you shove any ill-fitting material with force, I wouldn't necessarily scrutinize the material.
  3. I use Maple for the frog and head plugs and Basswood for the Spreadwedge. In the southeast US, I fear that basswood head and frog plugs would not do well with the wide humidity swings (ie plugs installed in the humid summer would shrink in the dry winter and come loose). The maple I use is near bridge quality reclaimed flooring from the 1926 Sears and Roebuck building across the street from us. I like maple for the plugs for their stability. When cut to fit properly, compression is unnecessary. The Spreadwedge does need compression and I find basswood (lime) is a perfect material.
  4. No shame in that, and I'm In no hurry. When you do get a chance, it would be appreciated!
  5. Nathan, any chance you could post pics of your bow? I'd love to see it.
  6. I purchased this bow some time ago. I sold it and then ended up getting it back in trade, due to me realizing how much I liked it after it was gone. It is stamped G. Siefert Liepzig, it's of nicely flamed pernambuco, and silver mounted. The slide is silver and engraved "F.H. Appelhoff from Roseburg Orchestra". I did a little research and found an article dated 1905 from a Roseburg, Oregon newspaper advertising the Roseburg Orchestra performing a pops program under the baton of former concertmaster, Professor Appelhoff. I may have posted this here years ago, but I cannot find it within the Mnet search function, and I was hoping I might benefit from any new eyes that might have an opinion on the origin and age of the bow. I have an idea of the shop it may have come from, but I'd love to hear your thoughts. I do not want to sell it (as I said, I did that once and regretted it)! I've taken some time off of Mnet for a while now, but I am now the bow restorer/specialist for Voss Violins, LLC in Atlanta, GA. I would like to thank all of you, as I have this position, in no small part, to the years I've spent here and, more notably, the time well-spent intensively learning bow restoration from my dear friend, Joshua Henry. Thank you for looking!
  7. C.B.Fiddler

    Bow ID

    The pics are blurry to see anything specific. The button appears too big for the stick and either the eyelet is loose, or the frog doesn't match either. Wood quality appears to be student level as does the the workmanship. Not sure why you've placed it @ 1890, but I expect later.
  8. C.B.Fiddler

    Bow ID

    Yes, Brad, it's a Hoyer. Good eye. Though, I'm not sure who pinned the button rings. Otto wasn't big on that.
  9. Just as a general guideline: measuring from the bottom of the lining to the bottom of the frog, most violin frogs are less than or equal to 17mm tall. Violas tend to be taller. There will always be exceptions.
  10. Shockingly, Larry, she's not returned with Grandpappy's old Strad yet...
  11. Very similar process to Josh Henry. It's nice to see masters at work! http://www.fineviolinbows.com/Repair-spline.htm
  12. No, there are parts of a bow that get replaced with wear: hair, thumb leather, even ivory tips. That said, an effort is made to "do no harm" and keep the bow as the maker intended. Repairs are a necessity when needed. Removing/replacing perfectly good original parts of the bow due to an ineffective law is another issue. Unfortunately, I, and many others, know that many bows are being altered in order to maneuver past these laws.
  13. One big issue is that metal tips are not traditional on many bows. When a pristine Sartory with a perfect, original tip ivory comes into the shop, are you going to "vandalize" it by replacing it with tip armor or silver?
  14. Nice message from Eric Clapton for you Facebook users: https://www.facebook.com/ericclapton/videos/10152765075432175/?pnref=story
  15. Looks like a Heddon bow. Made by a fishing pole company. Not very valuable - Josh Henry gave me one as a joke...
  16. In my humble opinion, rehairing is nuance over knowledge and, unfortunately, nuance is hard to glean from a book. I had the privilege of studying rehairing with Josh Henry, where I learned that it's a fluid process - almost like ballroom dancing. When you forget/skip/confuse the "dance steps", you lose the ability to properly finish with solid rehair. The repetition is what replaces the awkward and instills the nuance. I believe am a fast learner, but I do believe it would have been infinitely more difficult without someone like Josh to help one understand why your head plugs "tip in", or how to wedge a bow with a fingernail ferrule - or Vuillaume mounted - or the thousand other questions that come up during rehairs. As was said by Rue and Brad, rehair training needs to go hand in hand with some degree of restoration training. While learning, I had one completely fall apart. The ferrule was the only thing holding the frog together. Sadly, similar things are not terribly uncommon.
  17. Thank you, all, for the suggestions and warnings. The nice thing is, my friend can supply me with exactly what is needed so I can ask for 20 ml and keep it safely stored away. My purpose for it is merely staining wood in worked areas, not as a general treatment.
  18. Good afternoon ladies and gents, What would be the appropriate PH/molarity for Nitric Acid used to age pernambuco? I have a source that can get it for me, but he needs to know this info - and I'm clueless! Thanks in advance! Chris
  19. I feel cheated. I have spoken to Josh, in great detail, about necessary bow tools and never once did he mention a pensive cat.
  20. Yes, I would say my violin is a bit heavier than some. It has a pretty thick finger board on it, which I think is the primary culprit for the increased weight. Additionally, it is a low arched, modern, strad-pattern fiddle.
  21. The thicker gauge e-strings tend to please me the most. I came upon this later in my career, as I associated thicker with higher tension (and rightly so). That being said, pinning the string to the fingerboard with one's finger is not necessary - I realized that no increase in finger pressure was really required, just a mental adjustment to play atop the string instead of "into" it. Previous to this, I used the medium Pirastro Gold Label E (for years).
  22. I recommend the Westminster E #27 (thick gauge). This was first suggested to me by Josh Henry and I've never looked back. Very nice tone and all but eliminates "whistles" on my violin. It lasts a long time and is rather affordable.
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