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Jeffrey Holmes

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About Jeffrey Holmes

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    Ann Arbor/Tecumseh
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  1. You two should have started listing your high risk behavior on your websites years ago as I suggested to David and a few other maker buddies... get those speculators in the door!
  2. The silver model used below the bridge does just that. I think the idea of the pegbox model has something to do with kinking. I've just used one, so the jury is still out, but I noticed little change with the exception of taming the wolf.
  3. I don't believe the ones I referenced work that way... they damp the string in the pegbox. If it works, it's cheaper than a good bridge!
  4. I think once some players identify a wolf note it can become a bit of an obsession. I used one of these on a fiddle which did not behave as well as the player wished with other things I tried (what I tried modified, but didn't tame the wolf completely)... It worked pretty well. I didn't get mine from this company.... probably have to search for a supplier who can service you where you live/work. Expensive little things, but if they make a player happy.... The same luthier makes a silver one that attaches behind the bridge, but this one works in the pegbox: Theunis Titanium
  5. Judging from the video, that's about as much curvature as I ended up with (same type of plane). Yup... doesn't take much abrasive if the blade is shard and planing is carefully done carefully. I don't mind planing boards, but it does leave a bit of a mess.
  6. I suggested it because the OP said he didn't have a grinder and expressed budget concerns...
  7. https://www.popularwoodworking.com/article/using-a-hand-cranked-grinder/
  8. Hey... I like nice planes... but I agree with Michael & Fiddle Doug. The most crucial factors are blade quality, sharpness, and the the tuning of the plane body. My favorite plane is and old "Craftsman" (Stanley) chrome-dome with a very good blade. Comfortable in the hand, not as heavy as a Lie-Neisen and trued as dead flat as I can get it. I often use a bench plane for the flat (glue surface) side of the board, but the Craftsman also does a nice job for that on violin/viola boards. For the concave longitudinal fingerboard surfaces I use a Stanley block plane with a Hock blade (I find them easy to sharpen) with a sole I modified to be VERY slightly (did I mention very slightly) longitudinally convex. Getting a very even and correct scoop is a breeze. Barely need to think. I also have smaller planes for board surfaces when the need arrises, but it's rare as hens teeth that it does.
  9. After 17 years, I have no idea which Gagliano photo it was! Format of the board has changed since 2005. Unfortunately a good number of images were lost.
  10. I believe 1923 is the year Ch J. B. Collin-Mezin passed away... The firm was continued by his son, I believe. To be honest, I rarely consider if violins from that period onward are "authentic" or not due to their more commercial nature, though they certainly may have emanated from the shop (or have been made for the shop). I believe production was moved from Paris to Mirecourt sometime in the '20s, but don't know the exact year this occurred. What I can say from a brief look at your photos is that the the oval signature label is what I'm used to seeing in these later ones, though the scroll looks a bit odd (may be the camera angle). I would also expect mention of the Grand Prix-Exposition Universelle on a label after 1900, but as I don't really pay too much attention to these later fiddles I can't say if that is something to be alarmed about or not. Sorry I can't be of more help.
  11. :-) ...and yes. a 1908 would still bear a pencil signature...
  12. Violins labeled Collin-Mezin in the mid-late 1800s are very different than those from the 1923 . Approaching and after the turn of the century, fiddles bearing that label began to be, and continued to turn, much more commercial in nature... the hand written signature turned into an ink print signature on an oval paper label (you can see the edge of the label in the OPs photo). Then began the strange models (Le Victorieux) which have all the grace of a coffee table with strings.
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