Andres Sender

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  1. I am intrigued by the fact that no one is defending the wedge/ferrule construction. Many descriptions of the evolution of the bow ascribe an increased ability for accents at the frog to the wedge and ferrule.
  2. Anyone know the details of the bow Biondi's using these days? Model, maker, material?
  3. IIRC and FWIW, you wouldn't end up where you think you need to with the original board without making some other changes that might freak you out just as much.
  4. Just remember that to be considered historical, the recipe shouldn't have any pasta in it. IIRC, pasta was an occasional delicacy of the aristocracy during Stradivari's time.
  5. And so it does, albeit subtly as far as appearance, and only a very short distance as far as the sliding. As to removal, I'll let those who reset necks tell you about saws and removing after gluing. Also, a violin neck is not a 'tenon' by any definition I can find. Tenons project, they have shoulders from wood being cut away from the main body.
  6. I may not want to put them in the same category, but after giving this some more thought, I do think that's the right choice. The slightness of the taper of the neck doesn't stop it from causing the joint to share more of its distinguishing characteristics with dovetails compared to the alternatives.
  7. There is sometimes value in thinking about the boundaries of categories like 'dovetail'. The violin world sometimes adopts terms in ways that lose sight of the original meaning. It's not a problem a lot of the time but it sometimes endangers clear thinking. For instance Jacob's example illustrates the problem even just within the violin world. Does one really want to use a concept for the neck joint that blurs the conventional joint with instances in which a conventional dovetail was used?
  8. Strad used a butt joint and nails. The standard neck joint isn't really a conventional 'dovetail', although the walls aren't strictly perpendicular either. With the button and a well fit joint I'd say it's not luck, even if the walls of the mortise were perpendicular.
  9. Going on memory, there's the Bon Musica which has a bit of a hook over the shoulder. There's something more extreme along those lines which was being sold for electric violins. For around the neck there's a soft product like a pair of weighted straps that you can put both over one shoulder or one around the neck, etc. Sold through the maker's website. Then there's the illustration of a device that clamps to the violin and has a metal hook going around the neck in some early 20th or late 19th c. book. I have never seen a picture of an actual one. Sorry I don't remember names or references for these.
  10. There's a Strad Poster of the 1679, with 3 each belly and back cross arches and long arches as well. Some details of the neck and FB also. Based on those three cross sections the arches have just a smidge of Amati thrown into them compared to the 1668. I have always been curious to see an example of a Stainer with a very Amati-like arch in the back such as Roger mentions in his article.
  11. Or start learning the craft in ipe or bloodwood. Check out Stephen Marvin's website for some discussion of alternative woods. Although not cheap, you can get blanks in alternative woods from at least one European supplier (sorry I stumbled on it and don't recall the name). I don't know if Australia has much imported lumber, but if they import Ipe for decking, if you get the properties you need figured out, you may find you can go buy something locally and choose the right kind of boards for your purposes. It isn't enough to name a species when buying wood for modern bows, you really need to get into a sweet spot of density and stiffness just to make a bow that works, particularly when following a recipe before you have much experience.
  12. The only issue is the thickness of the gut vs. the channel, if the gut is too thick, you can file the channel according to your most comfortable and effective method.
  13. Early violin makers didn't have "lightness as a goal". Yes their violins had lighter setups than modern violins, but they didn't know modern setups. They were just making violins that worked for their purposes, with the right qualities, maybe they were paying attention to mass, maybe balance--just as some modern makers do. Maple fingerboards suited the goals of early violin makers until overspun strings became common. Yes the veneered softwood core board seems to have been common, but there were some veneered maple boards (i.e. Stradivari 1690 and 1721) and later there were even some solid ebony wedges. As to 'lightness' and the technical challenges of baroque technique, it's worth keeping in mind that the widespread use of chin rests lagged far behind the modernization of the violin, i.e. well into the 2nd half the 19th c.
  14. Sometimes you'll see it as just a half hitch with burned ends under the end button.