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Rick

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  1. My Grandfather acquired a violin and we cannot find any information about it's maker. The label has the word "BOSSU" as well as three circles with the initials "B", "L" and "S". If anyone has any information about this violin's maker. Thanks!
  2. : : : : : : if you have any tabletures , guitar sheet music , or know any free sites with free tabs e-mail me thanks
  3. : : : FREE FREE FREE : : : (no this is not a sex ad) : : Hey Dude- any chance you can send me it? I'll be your best friend (honest!0 : : Cheers heaps from down under!!
  4. : : We would like words and any other instrument parts that you have.
  5. IT CAN BE VERY CRITICAL IN THE A-PEG-RISKING THE WHOLE TO CRACK THROUGH THE PEGBOX WALL UP TOWARDS THE SCROLL-THUS CREATING A MAJOR REPAIR JOB. WHO TO TRUST ? A REPUTABLE REPAIR PERSON. : In the course of recent minor repairs, the fellow working on one of our family's violins commented that the peg holes were dangerously large, and needed bushing. : I have a couple of questions about this: : - how critical is this likely to be? : - whom should we trust with this? (i.e. is it risky?) : - Has anybody else been through this repair? : Thanks, Andrew
  6. Yes ! I had one recently -almost the same date. Contact me by e-mail and I'll give you all the info i have. : I have a 1967 Marinus Cappichioni violin and a Johanes Finkel bow I've had since the mid 70's. Does anyone know anything about either of these?
  7. : : : so we are all looking for sheet music. If you know where to find it e-mail me too thanks : Rock&Roll preferred
  8. you may also want to have the string action checked--if the bridge and nut are to high and the fingerboard scoop is too deep this will require more pressure on the strings. : When I play a lot ( 2 ours a day for a week), : my fingertips start to ache. Is this a normal thing ? : Since I am an old-starter I'm wondering, is it : something that disapears after a while ? : I'd appreciate some help, thanks
  9. set up is very important ! an instrument that is made well will ceratainly not sound good at all if the bridge is in the wrong place or is poorly cut, the soundpost is out of position, the fingerboard is too low or too high,the string action is incorrect,too short or too long of a tailpiece,fingerboard scoop is not enough etc...not only will the instrument not sound anywhere up to it's potential it will also not be easy to play--alot of instruments are in such a condition .a proper setup on a decent instrument done by a proper repair person will almost always improve tone and playability. : I recently watched a master violin-maker (Ed Campbell) take one mediocre-sounding violin after another, and by adjusting here and there, make them all sound GREAT! : How important is set-up to tone? 5%, 20%, 50%???
  10. Sounds like quite a big job ! I'd say in order to get an estimate on the job you`d have to take it to someone to have a look-you should leave your location on your next post and I`m sure someone will recommend a good shop. : Greetings all. After contemplation and playing, I have decided that my old violin may well be : worth restoring. The work is beyond my skills, at least for a "real" violin. I don't know what level of : restoration might be appropriate or what shop would take it on, do an appropriate job (not too much work, not too little) : and would not overcharge me. I'd like a "vintage" violin rather than a "beat up" violin! : Violin: My 1927 Nosek "Kocian," which is growing on me daily. Very fun to play and nice sound! : The damage: The violin probably took a blow to the bridge at some point, with top cracks from the saddle up : to the outside edge of the bridge feet on both sides - a real winner on an injury! : 1. Soundpost crack: The soundpost crack is tightly sealed and : glued flush, but has no patch. Makes me nervous; visions of an exploding violin. The question: to patch or not, and : if so, how many $ am I out?!!! : 2. Bass bar crack: The bass bar crack is long and probably strong, but the top was glued a bit non-level and : there's a depressed sliver of top along the crack. Ugly, but strong enough. It bothers me. In an ideal world, I presume : this would be opened up and reglued with care to get the bar right again. : 3. Edges: Top is a bit dinged along the edges with one small sliver of edge missing for 1/2" and looking very white. Wood is exposed : in places, both old darkened nicks and "newer" (but not new) whiter nicks. How is this handled? : 4. Finish: The varnish is pretty nice, but worn around the edges and with a few scrapes and worn spots. Expensive to get patched, especially : around the (presumably repaired) cracks. : 5. Bridge location: Slight depressions under the bridge feet, probably associated with blow that cracked the top. Any way or need to fix? Makes getting the : bridge feet to seat an interesting prospect. Not sure I got it right. : 6. Setup: The fingerboard needs work, but there's some beef left. Bridge isn't anything to write home about. : Worth having anyone restoring it do a nice setup? I seem to do it OK, but this is a much more responsive violin than I'm used to working on. : : Any suggestions for a restorer and guess at the order of magnitude of cost would be much appreciated, as would any other comments. I'm sure : plenty of us have fairly nice instruments that could use some work. I don't have very many $ in this, so there's some $ cushion for repairs before I reach a reasonable : limit - perhaps 40% of average auction value for an intact one would be a reasonable limit for initial cost plus restoration. : Thanks so much : Steve Perry
  11. very good question Mike ! I'm sure there will be alot of responses. As for releasing string tension I think if I were not going to play my instrument for many weeks Iwould release the string tension-but not so much that the soundpost may fall ! Also you would need to take particular care when doing this as the bridge will lean back on releasing string tension and on tuning up it will pull forward--you don`t want the bridge feet digging into the top. As for your other question on whether or not to leave the intrument in the case or not--I think there are many factors involved--where I am at the weather is very humid and it is favorable to leave the instrument out of the case in a medium room environment (especially if the varnish softens in humid hot weather) however if one goes to the concert hall where it is air conditioned the instrument will need time to adjust. as for a very dry climate especially in the winter when heat is on I would think this could create excessive dryness to the instrument and you may possibly want to leave it in the case with a humidifier, in fact I don`t know much about the very dry climates so I would recommend visiting a professional shop in your area to ask their advice on this and while you are there have your instrument checked over to see if it needs any repairs-if you are lucky it won`t need much done to it-however in some cases there are many things that need to be done-if it is beyond your budget you could possibly have each job done step by step-the objective is to get your instrument in top condition and keep it there ! This may cost a fair amount but well worth it in the long run- once done I`m sure any reputable shop that has done such repairs on your instrument would be happy to check over your instrument at little or no cost every several months--I constantly tell my customers to bring in there instrument every 3-4 months for a checking over at no cost however most I only see when a problem occurs and often one of which could have been prevented if they had brought it in regularly-a good example is the bridge being pulled forward over time from tuning and thus causing it to warp--a new bridge is not cheap ! Another example is a player complaining of strings breaking very often--hmm if they had brought in the instrument they would have saved the cost on broken strings by having the upper nut replaced. my point here is "preventative maintenance"by going to the violin shop every several months you will save alot of money in the long run and also learn more about your instrument and how to properly care for it. : Hi everyone! I read quite a bit here, and have contributed my 1 cents worth, but I haven't read yet any authorative answer to what the proper care of violins would be. I did read Ed. Herron Allen's book, but it seems that he had a mystical reverence for the instrument, and I cannot decipher myth from fact. I have heard to let down the strings(if not used daily), keep the strings tight, keep the instrument in a case, hang it to keep air circulating to let it breathe, etc. Does anyone have a good set of instructions? I appreciate it a great deal. Mike
  12. his second wife's name was: Antonio Maria Zambelli : I was watching "Traveling Antique Show" on PBS just now. This older woman brought two fiddles for evaluation. The interviewer asked her what she knew about the fiddles, and she said that she'd gotten them from her grandfather, and he had gotten them from HIS grandfather. She said, "they're probably MUCH older". She proceeded to tell about the first fiddle... "It's a Stradivarius, and Stradivarius named it after his second wife." The interviewer, with a straight face (some guy from Sothbey's or someplace like that) said "Hmmm... I had not previously been aware of Stradivarius's second wife... what was her name?". : The woman responded "Her name was Feciebat Anno... look, her name is on the label inside!!" : Turns out it was a 1920s cheap German factory fiddle in very poor shape... the expert let her down gently, and told her what the label REALLY meant, and told her it was worth about $200. ;-) : Michael
  13. if it's coming from the tailpiece area-first check the fine tuner. for your future info. here are a list of the many possibilities of buzzes: open seams , open cracks , loose purfling , tailpiece toucing the saddle , loose repair patches inside the instrument , loose linings , improprly fit feet of the bridge , string grooves too deep or misshaped grooves at the nut , not enough scoop in fingerboard , loose fingerboard , pegs ornaments or colllars loose , chinrest touching tailpiece , loose windings on strings , ball of the string end not fully seated in place , there are many other possibilities-----4 of us in a shop once spent days trying to locate the buzz in the scroll of a cello, as a last resort we had to carefully rub hide glue into several suspect areas of the scroll-this followed with a thorough cleaning eliminated the buzz which was evidentely caused by a hairline crack or loose flake of varnish which we couldn`t detect with our eyes-if you canot find the obvious cause you will need to take it into a repairperson : i'm getting a strange vibrating sound when i play and pluck my violin...it seems to be coming from the tailpiece area...its really bugging me...anyone know how i can get rid of it? thanks
  14. 7th degree black belt in restoration........i like that. your posting was very imformative-wish there were more like it . as to my question of removing a cello or base neck (one that is very well fit and shows no signs of coming out easily )what is your oppinion ? from my past experiences i think i would just go along with removing the block-what do you think ? rick : An intersting note: I studied with Tschu Ho and worked with Burgess (who was from the Weisshaar Shop). I learned both the "kung Fu" method (nice name for it!) and the one described by David..... : As I understand it, both methods were used in the Weisshaar shop, depending on the case.... : There are also times when removing the top is the appropriate thing to do. Hate to see compression cracks in the top!! : From experience I suggest that the "kung fu" style of neck removal only be used by those who have a 7th degree blackbelt in restoration! ; ) : Best to all, : Jeffrey
  15. normal string action at the end of the board is E:3.8-4 mm G:5-5.5mm. it is possible the neck has come down-check the projection by laying a straight edge along the board-where it touches the bridge the hight from there to the top of the instrument should be in most cases about 26mm-i would only consider resetting the neck if it is more then 1.5 mm from the 26 in either direction-- there is no reason to assume a neckgraft is necessary. as for the 2mm scoop in the fingerboard it is necessary to prevent buzzing. normal scoop :E-0.5mm G-1 mm. : : I just set up a used violin to test it. Used the loose bridge : : that had been fitted. I immediately noticed the very high "action." : : The fingerboard has about 2mm or maybe a little bit more scoop under the : : G string and about 1.5mm under the E string. The bridge is also set : : on the high side, with the G string about 1/4" off the end of the : : fingerboard and the E string at about 3/16" Is there any reason this : : violin (dates from 1927 and has seen lots of use) would be set up this : : way? Unless I can see a driver for the setup, I'll dress the fingerboard and : : recut the bridge. : : Thanks for any insights! : : Steve : Steve, : Your violin could be suffering from the neck simply being fatigued and falling forward slowly. It could be that when the bridge was cut originally the height from the board was correct. Check your neck angles and heights and determine wether or not that is so. You may need a fingerboard wedge if so or a neck graft. : Best regards, : Eric Benning
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