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. Yup. When gluing back on a top I want a glue that has sufficient tack to be stable, but releases relatively easily when an opening knife is inserted. Older glue seems to do that best... but brittle glue (like bone glue) is very good, or thinned hide (I'd use thinned glue with lower g strength) works, but newer hide glue doesn't act exactly the same. Still, that wouldn't stop me from using it if that's what I had (and it often is, as I seem to flush older glue out of habit). The only other application I can think of that I would use this type of glue would be the nut or temporary cleat. Maybe Nathan has other applications that aren't coming to my mind at the moment.
  2. I heat the glue and use my finger and thumb to test the "tack" of the glue. Same method is used when using fresher thinned glue.
  3. Agreed. I will often use it if I've got it when gluing back a top.
  4. I've noted physical problems with instruments with a more "swing" to the arch approaching the edge (like Amati family instruments) as well as instruments with less severe arching approaching the neck set. If the joint between the top block and the plate is compromised, it can result in instability in the string height, response, and distortion of the arch under the fingerboard. The condition of the upper block/table joint is therefore included in my standard inspection protocol. No one likes to wrestle with a stubborn upper block when removing an instrument's top, but there is certainly enough of a difference between adequate and too strong a bond that with some forethought and planning we can help prevent TBDS (top-block distress syndrome). Using a weaker mix of glue, or a weaker solution of a more brittle glue (like bone glue) and taking care to avoid over application will render a joint with plenty of resistance to failing without a bit of help from your opening knife.
  5. In the orientation of the violin that is the subject of this thread, probably correct... but inaccurate without that qualification. Example: the Deganis used a screw from the block into the neck into the 20th century.
  6. Not all Tubbs bows were created equal. Weight, strength, condition, auctioneer's judgement, etc.
  7. Maybe perception is all the Fletcher-Munson curve's fault.
  8. Yup. Had to wait till I got to the shop today to check. Short paragraph. Highlights: Joseph N. Copland, Chicago IL (1871-1959) Established shop in Chicago in 1905. Ceased making instruments in 1940. Did only repair work after. Retired in 1956. Modified Strad and Guarneri models with broad outlines and high arching. Numbered labels using Roman numerals. 62 violin, 5 violas, and 3 'cello. Also made several bows.
  9. Actually, no offense, but I know that. I said a little help.
  10. Yup. When asked if there's any flexibility (which honestly is very rare), I'm fond of saying that it's my price... or free.... dependent on the situation (charitable foundations I support, certain instruments I've sold). Nothing in-between.
  11. I think you should watch your step, Doug. I personally dislike others dictating what my time and product is worth, as I expect others do. If you charge $100, that's totally fine with me. I'm happy to admit I do not... and when I feel the instrument will not benefit from my expertise, I advise the owner to seek someone who charges less than I do. A $2,500 Saxon fiddle would most likely qualify for that advice. And BTW: In my experience, $240 is relatively inexpensive compared to what most of the top end big city luthiers and shops charge these days.
  12. Hi all. 6 pages is probably enough. Actually is was probably too much. I'll be locking this.
  13. Yup. The clean sheer looks like a staved joint to me.