Jeffrey Holmes

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About Jeffrey Holmes

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  • Birthday July 23

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    Ann Arbor/Tecumseh
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  1. Whoever wrote that should probably hang out with a better crowd of friends. Pay attention to Jacob.
  2. A rather pleasant, highly regarded, luthier/expert (who shall go nameless) taking time to carefully and thoughtfully look at a rather poor violin for an nice elderly couple at a convention (said very kindly): "Well... It's really not much of a violin, is it?"
  3. A good friend and colleague once said (while watching an auction that included wood and bridges form a maker who had recently passed); "Don't they know that a maker uses their best bridges first, and dies with their best wood?" I think there's some truth in that. I bought some very nice wood at that sale.
  4. Everyone works a little differently, but I think quick access to clamps is a real benefit. I keep smaller clamps (small bars, pillar clamps, closing clamps, small Cs, etc) and longer "reach" clamps for cello repairs are stored in drawers, but most medium size clamps are on two racks (below). The wall rack is half empty and the rod storage is short a few, as the clamps that live there are in use this morning. I think you'll get the idea though... Hope this helps.
  5. Ren wax is formulated to provide a very thin protective layer that can easily be removed. What one would want to try to build that up is beyond me...
  6. 99% of the time I'd get by with the wheel dresser, the square edge tool (both of those come with the machine, I believe), and the table. I have a custom fixture I attach to the table's face for grinding bench knives with long bevels, and use it without the fixture for scrapers, finger plane blades, other flat curved edge tools and, more than not, gouges. I also have the gouge guide that I use rarely, and the knife jig that I use for kitchen knives. I suppose they aren't for everyone, but I used one of the first Tormek grinders shipped to the states for many, many years (until the body started to rust out and the wheel cracked) and keep a T-4 at the house that I've had for about 8 or 10 years I think. A year or two ago I bought a T-8 for the shop to replace the old trusty rust bucket and have been very happy with it.
  7. Can you hold it closer to the screen please? I can't see it. :-) I take it from your description of the situation this is a dealer offering and not auction, correct? I'm moving your post to the pegbox. Seriously; We don't know where you are, who is responsible for the second opinions you mention, who the dealer offering the fiddle is, who wrote the certificate and we can't see the fiddle (and maybe we shouldn't know any of this on a public forum). Therefore, hard to give you much more advice than what follows. If there is concern, I would suggest obtaining a reliable opinion, in person, by someone who knows Pedrazzini's work. For retail, the price you quoted seems a little low (for a good one in good shape that's authentic)...
  8. You're welcome. If you're interested in sorting things out with makers, it's probably more productive to follow a plan, or if you prefer, a protocol. Jacob's excellent tutorials are a great way to start the process, but familiarizing yourself with straight forward fiddles in addition to the tutorials will tend to propel you forward in a much more rapid manner. Yes, I'm a moderator, but I also try to participate.
  9. Your original post is visible to all. There is no need to be defensive. I was responding specifically to the sentences I quoted... and offering some advice. It's free so you can take it or leave it. If you're serious about learning, I'd urge you to consider it. I will point out you were asking "if G&B ever made a radically different model from the standard one." and stated "I have found pretty convincing evidence that there was a G&B "first period" -1866 - 1870 when there violins looked different." earlier in the thread. It took you a good while to get to " I also agree with Jacob that its a standard markie with a fake label."... most likely because you were doing exactly what I suggested one not do.
  10. Always dangerous when excuses need to be made in an ID (one of his early fiddles, a bad day, made when he was incarcerated, an experimental model, the label was lost and some kind hearted luthier put in a facsimile, etc.). It's probably best, especially when learning, to stick to straight forward and typical examples of a maker or makers... and get a sense of how they approached the task of making. While understanding that makers may alter their trajectory slightly, they tend to evolve... they don't tend to depart from orbit. In the case of the OPs fiddle, I simply can't find boxes that can be checked for Gand & Bernardel.... or another serious maker of that school... so for me, it's not one.
  11. Yup... I assume he was talking about the transition from rounded to the straighter sides. I've personally not had difficulty with that.
  12. I make a block profiled to the shape and size of the cleats I plan to use, chalk fit the gluing surface, split the individual cleat off slightly thicker than what I plan to be the finished thickness, glue and clamp in place, then shape with a flat-ish gouge. Jerry Pasewicz's shop (Triangle Strings) employs a similar procedure and has a step-by-step description of the process (for one of the cleat shapes) online and available here. Interesting... I find the reverse to be true. I think we tend to adjust working methods to favor what we're used to doing, and therefore become more efficient at accomplishing the task.