Paul

: Paul, : If the sound post is cut properly and the violinist has had the correct training on the procedure, it sould not be a big deal to make MINOR adjustments to it. Just as if one knows how, they can move their bridge (we all know that tightening the strings tends to pull it forward over time). My point was it is both more dangerous and more difficult work to remove wood. Ergo it requires more training and experience. : D : : Dear D : : Correct positioning of a soundpost is NOT a minor undertaking. The structural damage that can result from a locational error could be significant. Just what criteria is used to determine "very technical work" ? : : Paul D Whats the difference if you take too much wood away or crack it - the latter being the result of a "minor" undertaking/adjustment? The length of the sound post is only proper for a specific location. Too long and you could impact arching or cause cracking in the table or back, However the same post may not be long enough to cause these items in the same instrument if it is moved. But to where is the $64 question It appears you have missed my point. Which is if you don't know what you are doing you can not know what the consequences are. Repairs, adjustments and whatever should be done by knowledgeable, trained people. Paul

: Sorry, Mike but I think you're still understating it. It isn't just about using extreme care. You also have to have the knowledge and experience to do the job right. Is as near to an exact science as an artistic craft can be. This whole issue of some novice reaming his or her peg box is a perfect example of what Adean referred to several months ago (and oh, so acerbicly) as the "Wood be Repairman." It's one thing to tap your soundpost in one direction or the other or pull your bridge to the proper angle (and even those minor undertakings require a certain modicum of knowledge/training) but it's quite another matter to do very technical work on the instrument. : D Dear D Correct positioning of a soundpost is NOT a minor undertaking. The structural damage that can result from a locational error could be significant. Just what criteria is used to determine "very technical work" ? Paul

: : : I don't know if it is a good idea for non-luthiers to have this equipment. A little knowledge can be a dangerous thing as people go "shave happy." in humid weather and then are in trouble when it dries up. : It's also a very bad idea for musicians to buy soundpost adjusters. Anything that you do with pegs can be fixed if you mess up. If you mess up a soundpost adjustment you will do permanent damage to your violin. I get mad every time I see soundpost tools in violin catalogs. Bob, You can't be serious about being mad when you see sound post equipment in a violin catalogue. The company is only trying to make a buck and so are repair people . Patches , cracks and rearching pay fair so whats the beef? I like the work Paul

: This is a tricky question. The part where you heard that weight lifting is good because it strenghthens the arm and wrist makes no sense to me. The kind of strength that you need for playing the violin is not the same kind of strength that you get from weight lifting. I don't think that moderate lifting is necessarily bad, but I haven't heard of anyone that claims that it actually helps violin playing. The important question is what type of lifting you are doing. If you are doing it to bulk up, in the long run this may be detrimental to playing because bulky muscles tend to be less flexible and that is one of the big keys to playing well. I went through a one year period of weight lifting because I am very thin and I wanted to put on a little muscle to improve my look. I did that but found that the increased bill for food was prohibative. I felt that the extra upper body muscle that I gained was just beginning to hinder my playing when I stopped lifting. Actually, martial arts may be a better way to get fit and muscular without hindering playing. : Adean : : I have heard from some people that weightlifting is extremely bad for violin playing because it tightens your arm and wrist. : : I have also heard that weightlifting can be very good because is will strengthen your wrist making for a better vibrato. : : Could someone please settle this. I want to get stronger, but not at the expense of my violin playing. Thanks I wouldn't worry about weightlifting altering your playing ability. It takes many hours of practice in either field to achieve noteable results - and you won't have that much time to achieve superior results in both. Keep it simple and enjoy life. Paul

: ok ! ok ! i'll follow the rules if it`ll make everyone happy--i`ll be sure to make it one of the priorities in my life from now on. : : : : He's got a good point, John. : : When in Rome... : : PC John . It is incorrect not to capitolize "i" when writing . 40 lashes with used bow hair Paul

I'd recommend taking your violin to a shop before going and having it checked out and getting your bow rehaired. Bring strings. dampit? may be neccesary in winter-depends on the humidity. Hope I didn`t make any typos here --god forbid ! : I'm leaving Texas to travel to Lublin, Poland (230K west of Warsaw)to begin medical school and my only companions for the first two years will be my laptop, about 130 lbs. of textbooks and my violin (which was made in Romania). I had saved up money for a new violin, but maybe if time and cash permit I could find something more unique to purchase abroad. : I don't know if any violin shops abound in Lublin so I was wondering what would be a good list of supplies to take with me. Also should I worry about getting a "Dampit" or any other special provisions? : I leave at the end of September from a "climate" of 107 dgs F(Our high in Waco from yesterday), to a much cooler and dry "climate" in Lublin if that helps any. : Thanks in advance for your input and I will be reading with careful consideration. : Best Wishes : Roshan Mathew

I this an English class or a violin forum---wanker ! : : nt

: The following method is quoted from a British book I have on making stringed instruments: : "Scotch (assume hide - Raven)glue is the only adhesive used in violin making. It is applied hot and makes a weak immediate bond, but dries to give great strength. Hot water can be used to separate freshly glued joints and to wash away excess glue. Scotch glue becomes weaker after continued re-heating, so prepare fresh quantities when required. Twelve hours before the glue is needed, put a small quantity of pearls into a pyrex bottle and cover them with cold water. The pearls swell as they absorb the water. They following day place the glue bottle in a saucepan of water and heat it. As the temperature rises the glue liquifies. Add water until the glue runs freely from a brush or knife held over the pot. For a weaker bond, add more water. If glue brushes and knives are kept in the outer pot, this water will become dilute glue, which is useful for sizing a joint prior to gluing" : Though I can't resist wondering - If the 18th century violin makers had had modern adhesives, wet@dry abrasive papers and urethane or synthetic resin varnishes available - would they have used them? Raven, I think human nature is such that the 18th century makers would have jumped on to using our modern day products. Maybe even the computer LOL Paul

: : Hi everyone : : I had been experimenting around with my violin's soundpost, knowing that if something terrible happen I can always bring it to a local luthier to fix it. Anyways, I have a S-shaped tool with a sharp end which is used for soundpost adjustment. I'm wondering how to make sure the post is vertical. Everytime I tried to make some little changes the soundpost falls down. Any tricks and tips from you violin makers? : Be careful! If you manage to gouge the top with the post, your local luthier won't easily be able to fix it. I think soundpost adjustment is a skill best learned by watching and doing under supervision, preferably with an instrument of no real value. I'm not sure there's a compelling case for most people to learn the skill... The "sharp end" of the S"shaped tool" is not used for soundpost "adjustment" - the other end of the tool which has recesses to capture the sp is used to make adjustments. What is the condition of the ends of the sp? What is the condition of the back and table in the area of the sp interface? Did you check the sp's length with that of the instrument? Do you have any tension on the strings while you are making some adjustments? Paul

: Is this something I could learn from a book? : Are many specialized tools needed? It is all relative and for me at times a frustrating experience . I did 7 bows in 6 hours today but yesterday I did 2 bows in 3 hours. Some days you have it and some days you don't . If you value your time and are not looking for a challenge - have it done. If you want to do it the degree of difficulty is directly related to the type of bow - ie; is it a student line glass bow which will most likely have a resuable plug in the tip mortise and screw in the frog or is it a wood stick which may result in you making replacement plugs in both the tip and frog.. Perhaps your question is best answered by your review of H.S. Wakes book on bow repairing. Good luck Paul

: Looking into my violin, I noticed that the soundpost between the upper and lower soundboards is not vertical. Its top is closer to the centre of the vilin, and the bottom is closer to the edge. Also, the the bottom is closer to the neck than the top. : Somewhere, I was lead to beleive that the soundpos must be vertical. Any comments? : Also, when playing B and C on the E string, there is a horrible buzz from the violin. I have checked all pegs, rests, fine tuners etc - What could the problem be? Would it be related to the soudpost? It sounds that you are aware that your instrument is in need of attention and are a bit unsure of all the conditions and related causes. Probably the best thing you could do is take it to a repairman or woman and have them look it over and give you a summary of the condition and cost of repair. good luck Paul

: : Be careful...fumes from burning varnish are dangerous to your health! : : Sorry about your misfortune. : : The splinters would go good in a dried flower arrangement!? : : Al : : : : After a job recently, I inadvertantly left my violin in a parking lot on the ground. When I returned to retrieve it, I found that it had been totally smashed and broken, as it had apparently been run over by a rather large truck! Mabey on a cold night I'll use it for kindling wood. : Al, I sympathize with you on your misfortune. If I may, I would like to relate another misfortune that befell a "Gypsy violinst". : This goes back around eight years ago. There was a very good gypsy violinist in Hamilton, ON that one day decided to take a bus to Toronto to see some of his friends, so he deposited his violin at the bus terminal in one of these coin lock up boxes. Someone in the terminal had noticed that this strange looking man had put this conspicuous looking violin case in the storage and called the police. The police came out to the bus terminal and opened up the lock-up. They determined that indeed it was conspicuous looking and promptly called in the "bomb sqad", who in tern got it onto the floor and tied a ropw to it, dragging it out to the middle of the street, and proceeded to put an explosive charge to it, blowing it into a thousand pieces. The violinst came back in a couple of days to pick up his violin, and was confronted by a police officer who gave him the sad news. The gypsy told the police that it was an expensive violin that had been handed down from his father, and was irreplacable. Now this story ended with a happy ending, because the city reimbersed him for the violin. However, the violin was a poor grade $250.00 violin, and he got several thousand for it from the city. : Charles The police and city should have been really made to pay dearly. What would take over a person's mind to cause them to leave an instrument on the ground in a parking lot? Hope they don't drive too ! LOL

: : : : : : Hi thar, Billy Bob: : : : I suggest you git a copy of VIOLIN RESTORATION....Weisshaar/Shipman. : : : Call 1-213-466-6293 fer yore copy. : : : Best book y'uns can git!! : : : Luck to you, : : : Al : : : : : : : : : Hi everyone ! : : : : Recently i have received a violin for a sound adjustment -actually from the postings here ! : : : : well.........i have decided it needs a new bass bar to improve the sound , i have read carefully all i have available on doin this job , trouble is i have never done it so before i start i want to make sure i have covered all my bases (no pun intended) and am hoping to get some cool tips and tricks concerning this from all you other repair guys here on maestronet. : : : : One other question is: in order to get the top off would it be best to use a thin blade exacto saw or just a very sharp knife? : : : : waitin to get started ! : : : : keep up the great postings and have a fine day. : : : : Billy : : Billy, : : How did you determine that it needed a new base bar? Please share this in the greatest detail . : : Thanks : : Paul : Hello Paul....bass bars are peculiar things...most need replacement only when they become unglued and warp, or incorrect in the first place. : The one sure sign of a bar replacement need is the top caving in on the "G" side..... : The more subtile sign is that harmonics are very difficult to produce, on G string, especially, with no relation to ability of the player. : I only replace bass bars as a last resort, when nothing else will work. : Due to the cost of time to do this repair, it is done quite infrequently, except in the case of a bass bar crack. Some violins would be better junked than repaired.... : Regards, : Al Al, I recognize the complexities and scope of this repair. Just this thursday i reset the table on a 3/4 bass in which i reglued the bass bar because it had come loose. I was and still am very interseted in what criteria Mr. Billy Bob used to determine that the bar needed replacing. I agree with you that it is a relatively infrequent repair. If I may be so bold to ask what is your rate for such (base bar reglue) repair on a bass? Thanks , Paul

: Hi thar, Billy Bob: : I suggest you git a copy of VIOLIN RESTORATION....Weisshaar/Shipman. : Call 1-213-466-6293 fer yore copy. : Best book y'uns can git!! : Luck to you, : Al : : : Hi everyone ! : : Recently i have received a violin for a sound adjustment -actually from the postings here ! : : well.........i have decided it needs a new bass bar to improve the sound , i have read carefully all i have available on doin this job , trouble is i have never done it so before i start i want to make sure i have covered all my bases (no pun intended) and am hoping to get some cool tips and tricks concerning this from all you other repair guys here on maestronet. : : One other question is: in order to get the top off would it be best to use a thin blade exacto saw or just a very sharp knife? : : waitin to get started ! : : keep up the great postings and have a fine day. : : Billy Billy, How did you determine that it needed a new base bar? Please share this in the greatest detail . Thanks Paul

: That's all I've had on my violin for years. Don't know of any negative things about it. Use parchment, and I beleive just white glue, but I'm not a repair guy. I never use string tubes on e strings, they affect the tone. Parchment doesn't, and rarely does the string cut through if you use the right stuff. : Adean : : I've thought about using bridge skins under the E string (A for viola, etc.) and have a couple questions: : : What are the benefits?...bad effects? : : What is the best application? : : Thank you for your time! : : Sincerely, : : Daniel Medina Adean: What is "the right stuff" and where can I get it ? Thanks, Paul

: Hello Maestronet readers! : I have just completed my testing of the new D'addario Zyex for viola. They sent me a set of strings, with two different A's and two different C's. A colleague (who performed the "listener's test") and I listened to the two choices and made our choice which matched the sound of the other strings and optimized the tone. I sent my results to the D'addario Co. I figure that the strings will come out on the market in about a month. : In general comments about the strings, they are nice. They have a strong, warm tone with nice response. They are pretty much what the company says they will be. I would recommend that all violists who use synthetic core strings should give them a try. : Sincerely, : Daniel Medina : Icepick4@Juno.com

: A cheap but decent for the money set that has just reappeared after several years of being scarce is the Goldbrokat. At $8 it is difficult : to beat the price. They are wound aluminum on steel. The steel "e" is actually the "e" string of choice for several well known violinists.. : : i like the following bargain strings-but i will preface my list by saying "why skimp on strings, they are not that expensive for violin?"-but here goes: : : thomastik precision ($10) : : d'addario prelude ($10) : : for perlon, the d'addario pro-arte are a pretty decent fake dominant at around $18 : : and i have even had good luck with the supersensitive (thats right)sensicore with the wound e, and silver d&g. For cheap strings the new Zyex are pretty decent. PC : : for cellos, i think it is hard to beat the jargers for cost/sound ratio.(silver that is, though)

: I have dominant strings on my violin and they're marked : perlon. What is this made of? Someone told me it was : metal but with the thread wound differently to other : metal strings but someone else told me they were synthetic. : Thanks I thought that "Perlon" was actually kevlar. PC

: Has anyone tried the new Musicary Carbon bows advertised in Shar's lastest sale book? Opinions (why do I know there will be a few)? : Sal Sal, I haven't personally tried the Musicary Carbon bow but I just got a CodaBow and I have to say that it is fantastic. If this Musicary one is in the same price range then definately give the Coda a whirl. PC

I have a Nurnberger bow which I paid $1200 for. I think it is wonderful -- it is the first bow that I have used that feels like part of the instrument, rather than just a stick that makes the instrument work. This is hard to explain, except for that when I am playing and hitting my intonation correctly, I can feel the music coming through the bow into my bowing hand. I've never had this happen with any other bow. I like the bow a whole lot! Paul

: consider first of all the desired properties of the material of the top ,it's structural and acoustic properties : it must be strong enough to withstand the pressure from the strings and it must also be light enough to allow vibrations to travel easily and additionally-equall;,this is why the wood on the top of a violin is always bookmatched(a wedge cut from the tree trunk, split ,opened like a book and joined together. : look at the grain structure of spruce: each annular ring is composed of light and a thinner dark layer of cells-the dark is hard and the light is soft so we have strength and lightweightedness combined in one materia:l in addition spruce has a very straight wood fiber allowing for vibrations to travel equally (the acoustics of course are much more complicated but that is basically it) -the arching and thicknessing of the top give further strength and acoustic properties as well as the bassbar and soundpost. : as for the back,sides and neck of the instrument mainly maple has been used, i would guess the acuostic properties are not as critical as those in the top but strength and a certain amount of lightweightedness would certainly be desirable-the back can be either of one peice or bookmatched and often is.the fingerboard of course is made of ebony to add strrength to the neck and as it is hard will withstand wear and tear. : i`m sure from the time the violin evolved the makers understood well the properties of wood-we must keep in mind in those days that wood was one of the few lightweight materials available to man for manufacturing-they must have had a great understanding of which wood was suitable for which job. : it is said that only certain spruce and maple are best for violin making-besides slight differences in it`s workability it must also be the sound qualities that it produces-to a very trained ear there will be differences---this is quite a different question and is due to climate etc.....one could take the best grapes from france for making wine-grow them in california and it just wouldn`t be the same-why ? well .......i don`t know.....i have violins to make now......keep in mind also the makers from long ago didn`t have scientific ways of analysing structural and acuostical properties of wood ......and i doubt had time for experimenting and trying to figure out why violins sound the way they do---the sun went down in the afternoon and that was that. : hope this has given you some ideas. : : I am an undergraduate studying Materials Science looking for some information on why particular woods are used to make the violin. Any relevant information would be very useful. James In a post you say >> each annular ring is composed of light and a thinner dark layer of cells-the dark is hard and the light is soft so we have strength and lightweightedness combined in one material<< This feature is found in all trees and is attributed to early and late growth which took place in the spring and summer. Often the slow growth is noted to possess greater physical properties. Paul

: : : : : : : : : : : : : : : : Where can I get Fleetwood Mac Music?

: thats an interesting story about your dad, i suppose the idea is nothing new, but this particular version of it has been patented i bewlieve by a semi-retired gentleman. it's not in your catalog because they just got them in (it helps to be able to visit them and play around in their warehouse-if you're ever in town, let me know and i'll take you there)it should be listed in their new 98/99 cataqlog. : mike What/whose catalog are you talking about? Paul

: Paul, : Thanks for the advice on the Fishman. Yah, I don't really have the extra wad to blow on a mike/transducer blender system, and would like to just make the Fishman work better.Actually,my main giggin'axe (or should I say hatchet) is a black Barcus-Berry with the transducer in the bridge and the volume pot,etc.--which I'm really happy with, but it would be great to have my acoustic fiddle be more matched sonically to the Barcus. I finally got a little BOSS digital reverb (since my amp doesn't have any), which has been great. Before that, I would use a long delay with a quiet return to simulate reverb--nice for those beautiful long slow phrases. I still use it for that sometimes. Thanks again for the Fishman tip! I'm curious...what kind of performing do you do (music-style), and what's your entire equipment setup like? --ChrisW Chris, Did you ever get the email I sent you?