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Oded Kishony

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  1. I would make them myself by sandwiching brass between ebony center. It's easy and will make a better plane than most commercial ones OK : where in australia can I buy finger planes?
  2. Bass bars usually wear out at about the same time that the luthier needs to make a boat payment :-) : Do bassbars weaken over time and need replacing? I have read that they do, but I suspect the real reason they need replacing is because the top dries out over time and requires a heavier bassbar to compensate?
  3. I'm a cello maker and I routinely ship cellos. I've shipped cellos that were completely set up and have had no problems. I've also had a forklift go through a carboard box and a hard case, right through a rib. In that case it would not make any difference if the cello was set up or not. It is defenitly safer to ship a cello with the bidge and post down. There is no need to pack all that seperately just as long as they are wrapped up and not loose in the box. I've always left the endpin in. Typically I like to put the cello in a hard case with additional foam and the hard case inside a cardboard box filled with packing material. I like to ship UPS 2nd Day Air as the most cost effective and safest. DHL and FedEx are also good but more expensive. I don't believe the post office will accept such a large box. I do ship violins with the postal service and have had no problems with it so far. Oded Kishony : I don't recommend that you ship your 'cello. The key here is in the packing. At best shipping cellos is risky. You must be certain that the setup is off, the soundpost is down, the end pin is removed, and all parts are boxed seperately from the 'cello. Further don't pack too tightly and pay attention to the neck, the most frequent spot for breakage in shipping. Good Luck. : S. Hersh : : I am in the process of buying a used cello from the US. : : and want to have it shipped to Montreal Canada. : : Can anyone recommend a reliable carrier ? : : How Does US parcel post sound ? ( it seems to be the cheapest : : but will I receive fire-wood at the other end ? : : thanks a million for any responses
  4. The Kolstein company is still in business on Long Island, New York. I believe Sam may still be actively making bows. The business is run by his son Barry. I suggest you take the bow to an appraiser or bow maker and get a thorough evaluation of it's condition and value. : : Hi : : I have just been given a samuel kolstein bow to try out. a symphony player wants to sell it at $2200. : : it has an ivory frog and silver windings. however the ivory at the part where you grip the bow at the frog is slightly worn . also the mother of pearl panal on the underside of the bow is very worn with much of it scratched(?!) off. : : I would like to know more about the maker and also whether, given the circumstances , this is a worthwhile investment. : : thanks
  5. I operate a violin making & repair shop in Central Virginia near Charlottesville. I was trained as a violinmaker in NY (1981-1983) and in Italy (1987-1988) and I worked in a repair/restoration shop owned by Stephan McGhee in Manhattan NY (1983-1986) I can provide references. : Does anyoen know of any luthiers in the Hampton, Newport News, Norfolk area in Virginia? I need to have some work done on my bridge apparently and want to find someone who would do a good job. : Jon
  6. The fact that your violin has always sounded like this does not make me overly optimistic about resolving this problem. Did you not notice this before you bought your violin? Here are a few of suggestions: If you feel competent to do this then try to move your bridge up or down (ie nearer scroll/tailpiece)testing after every move. Try tightening/shorteing the tailgut. Try switching the G string from the G peg to the D peg to lengthen the G string. Is you bridge centered between the ff holes? Try looping your G string through from the top of the tailpiece instead of from under the tailpiece to increase string tension on the G string. Replace G string with a heavier guage.(ie forte) Your description of the problem doesn't seem to me to be related to fingerbord scoop Good luck Oded Kishony : Violin always did it. Replaced original strings, thinking the G might be false. No improvement. Violin is solid--no open seams. : Mark W. : : 3-5mm behind the bridge is a normal location for the soundpost. Did your violin always do this or did it just start. If this is a new thing then check for open seams : : OK : : : My newly acquired violin has a hollow, dead sound on the G string anywhere above the second position. I notice that the soundpost is only a couple of mm. behind the treble bridge foot. Should I ask that it be moved further back? (Bridge looks good--strings resting in the top 1/3 of the nicks; placed exactly midway between the end of the fingerboard and tailpiece fret.)
  7. An ordinary rib repair should not cause a permanent change in the sound quality of an instrument. The violin may sound different for a while if the top needs to be removed untile the glue hardens etc. Tell your luthier that you like the sound of the violin and you'de like to keep the same bridge and soundpost. OK : My 13 year old son was distraught to find a dent that : has actually pierced the wood of the rib of his violin : just to the side of the button. It's a really lovely : Reigel violin of which he is very attached. He think it got : hit with the frog of someones bow in Orchestra last week. : The mark would certainly tie up with this. : I aim to have it reapaired, but am really worried that : the surgery required may alter the tone/projection of the fiddle : which incidentally is really lovely. Any one got any comments. : Should I stop him playing it until it is reapaired? Fortunately it is insured.
  8. 3-5mm behind the bridge is a normal location for the soundpost. Did your violin always do this or did it just start. If this is a new thing then check for open seams OK : My newly acquired violin has a hollow, dead sound on the G string anywhere above the second position. I notice that the soundpost is only a couple of mm. behind the treble bridge foot. Should I ask that it be moved further back? (Bridge looks good--strings resting in the top 1/3 of the nicks; placed exactly midway between the end of the fingerboard and tailpiece fret.)
  9. Hi Chris, What's the edge work look like is it also very flat or is it more sausage shaped-round and full? Are the ff holes a bit sloppy of very carefully matched and cleanly cut? What's the aproximate price of a real one in fairly good condition. Thanks Oded Kishony : As always, violin i.d. is hard to convey without pictures, but two distinctive features to look for are a very flat arch and a thin yellow brown varnish. I don't know of any pictures, but ignore the one in Sothebys Nov. 1988, it is wrong. : : When you say distinctive, could you elaborate? What, in your experience, makes his work distinctive? Are you aware of any sources for photos of genuine instruments? (books, auction catalogs, etc.) I hope I'm not asking too many quesitons-I just want to learn : : : : Comuni's instruments are quite rare. I have been lucky to have two. One which we sold to David Cerone and the other that is a 7/8 size. His work is quite distinctive in character and they both had a very successful concert sound. : : : : I have a violin labelled Antonius Comuni, fecit piacenza, 1820. It's been identified by a reputable and knowledgable expert as being German, mid 19th century, so authenticity (or lack thereof!) is not an issue. But I'm curious. I can't seem to find much on this maker at all, anywhere. DOes anyone have experience with a genuine Comuni instrument, and could they pass along any first-hand observations? Pictures? Thanks tons!
  10. Hi, There is no doubt in my mind that putting too much hair on a bow causes it to perform worse rather than better. I've only encountered one bow in 15 years of rehairing bows proffesionaly of a bow being significantly better with more hair than less. That was a 'sylvestre-macoutel a paris' bow that was rather heavy and may in fact have been intended for viola. Oded Kishony : Hi, what about this idea that less bow hair gives you more control? (see my full question down below "opinions please") : Thanks in advance.
  11. I've tried matching mode frequencies on a violin of mine and was very underwhelmed by the result. The procedure is to sprinkle tea leaves on the fingerboard or to put tea leaves in a little plastic cup attached to the f/b and run a sweep tone generator such as 'sweepgen'(from fundoc. com) and identify the frequency of the f/b then remove wood from the end of the f/b to raise the pith or from the middle of the f/b to lower the pitch. You could also just tap the f/b and identify the pitch by listeneing to it. Of course as soon as the fingerboard is re-dressed all that work goes out the window. I wouldn't bother. Oded Kishony : The Matching of A0/B0 modes freq. is another b.s. of that Doggut Acoustics. Why not match ALL the resonance frequencies, so when the player touch that note, there will be a sonic boom!
  12. Bradley, Kremer's sells something called "trass" which is very similar to pozzolana. I've messed around with it but have not found it particularly useful. You must have read the research by Barlow and Co. "Firm Ground" Their conclusions about pozzolana don't really hold up to close examination-it was really wild speculation to even mention pozzolana as a viable ingredient in old varnishes. Oded Kishony : I'd like to try pozzolana as a ground but can not find a source for the stuff! Also if someone has used it and has some advise.. that would be great!
  13. I agree with Al. It's totaly inappropriate to color the hide glue. However in a shop I worked at some years ago they routinely added just a bit of zinc white to the glue. I never felt it helped. The best remedy for a crackis to get the two sides to come as close together as possible without a step while maintaining the curves of the arching. To learn to do touch up get some water colors and gum arabic. Read "blue and yellow don't make green" and practice on cheap instruments. Good luck Oded Kishony : Hi Rick: : Coloring hide glue leads to staining of the wood being glued....on light colored or normal colored instruments, the crack would be a blemish. The dark cracks you see are those glued without proper cleaning of the surfaces before gluing...sign of a bad job!! : Best to you, : Al
  14. My first violin was a Friedrich August Glass. Nice fiddle. Oded K. : Is there any one out ther that owns a fiddle made by any of the Glass family Particulay by a Fried. Aug. Glass?
  15. I know a number of makers that use liquin as a sealer. It works reliably but is probably not what Strad used :-) Another possibility is to use egg white diluted with water; a thin coating of shellac/seedlac is good as a sealer, as is commercial sanding sealer(it will brighten the tone). Casein makes an excellent sealer but I wuld definitly stay away from putting linseed oil on bare wood. Oded Kishony
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