kittykatjaz

Members
  • Content Count

    202
  • Joined

  • Last visited

About kittykatjaz

  • Rank
    Senior Member

Contact Methods

  • Website URL
    http://www.jasminedavis.com/
  • ICQ
    0

Profile Information

  • Gender
    Female
  • Location
    Sydney
  • Interests
    Playing my cello, being an an orchestra and making things.

Recent Profile Visitors

2673 profile views
  1. Thanks Guys, The lighting thing is something I tried yesterday from all different angles. In the end I thought if I could photograph it and bring it into Photoshop then by playing with the levels and filtering, it would bring it out a bit better. I guess where I found it hard is if the name is not a native English one then guessing becomes a whole lot harder. The stamp E. Liebich, Breslau. does fit if the bow is inverted. So next question, who is E. Liebich, Breslau? Regards, Jaz
  2. Hi Everyone, Would anyone be able to help me with identifying this bow stamp? The bow came with what looks like a late 19th century German Strad copy that I picked up at a local swap meet today. Unfortunately the previous owner had it restored with a fresh coat of varnish on the belly and scroll. What's left of the label appears to say "Antonius Stradivarius Deutiche Urbeit" Thanks, Jaz
  3. Another option for a glue pot if you cannot find a bottle warmer is a beauticians wax pot. The one I use has a removable pot that does not touch the outer heated area. It can heat from luke warm to around 90 deg C but not boil. I used to suspend a plastic drink cup in the water to heat the glue but now I just sit a glass in the water and leave the lid on to keep it consistent. It is the only pot I have ever used and it works perfectly.
  4. With the $50 for two violins bargain I am over the moon. It was mostly luck as they had them out the back and not on display as both are "broken". It was only after I asked if they had any musical instruments she got them out. Where is the C.F Durro made? I have not hear of that maker before. My avatar is the same old puddy tat. The one that helps me whenever it is time for instrument making/fixing or music playing
  5. Hello again, Here is the second of the $50.00 junk store violin pair special. This one is un-labelled and in a lot better condition than the Martello labelled violin, but it is a little unusual in places. The corners are quite small and the purfling which is quite close to the edges seems to be a different type as it sort of looks odd. I have thoughts about 20th century European trade instrument but I am far from expert in judging these things. It has quite a wide grained front and a lovely figure on the back/sides. The varnish looks original. Apart from the usual open seams and wear it is in quite good condition. Both this and the Martello labelled instrument had gut strings hanging off them and this one came in an old case with 3 bows. One stamped Dresden on the side and Germany underneath, the second bow is stamped Czechoslovakia and the third is unstamped and really rough. The Dresden stamped bow is poor and bent sideways, though the Czech stamped bow is in really great shape but with little hair left. All I can say is what a dream bargain for $50.00. There are a lot more photos of this violin on this address. http://www.jasminedavis.com/instruments/gallery/unlabelled Love to hear the thoughts on this one? Jaz
  6. Hello, Last week we did a trip up the country to Brisbane and on the way in a country town junk store I picked up two old violins for $50.00. The first one which has had the f-holes mangled is labelled Antonio Martello, Faubourg Saint Martin, Paris. At first I did not think much of this instrument as the front is in such bad shape and been re-varnished but on closer inspection noticed it had a one piece back. It was then after a closer look the finer points of this instrument started to show out. So can anyone confirm this instrument is as it says and does anyone have any background info on the maker? It sure is going to be a fun one to fix as it looks like a lovely instrument to bring back to life. There are quite a few photos on the below link to look at. http://www.jasminedavis.com/instruments/gallery/martello/ Jaz
  7. Wow quite a bit of info! Richard, The realist pickup is something I saw recently here on a double bass belonging to a guy in the youth orchestra. It looks so thin but may be worth giving a try. The Barbera transducer looks great but so expensive. Since starting the thread Santa came and was pretty generous with both a Fishman PRO-EQII preamp and a Roland Micro Cube Bass RX which has four little speakers that are really load and clear right up the fingerboard from the lowest note. It has transformed my electric into a really great sounding instrument. It has made such a difference to the sound as the preamp really cleans the sound and the amp seems very well matched with on-board effects. It is amazing how these two things can really change the sound. Hi Matt, long time The damping properties you are talking about is why I left a cut down belly in place and utilizing two short sound posts and the original bass bar. By adding/removing sound posts and moving them around has been a great way of changing the resonating effect and sustain of the cello. I started with 5 posts and ended up with two, the treble in the normal spot but a bass post directly under the bass bridge foot. That with moving the bass/treble pickups around has had quite an effect in molding the core sound. It is actually quite pleasant to play/hear even without any electrics attached. It is not really a silent cello. The reason I started this thread was to get an idea of the differences between the different styles of electric cellos as there is so many out there. This one I am fiddling with is an experiment and pretty rough but would like to make a nice one. The idea of constructing one on the same configuration as the rough one is tempting, though using a spruce "floating" sound board and maple spine. It seems that this world of electrics is just as broad and adventurous as the acoustics. Jaz
  8. First thanks guys for your welcome back. It has been a long time as life fleets away so quickly and before you know is over a year has past. I have been working hard at fitting into an orchestra so the last year has been a lot of hard work musically so little time has been spent on anything else. Going over to the dark side? Chet, it is more like fell over face first! The electric thing is a bit of a new adventure for some improvisation but I have already (roughly) made one from hacking up an old ply Chinese cello which I picked up a few years ago with a broken neck, then using scraps of wood lying around here. I left the top plate in an original style with sound post/s and the bass bar and it has worked to some degree, though a bit wolfy. The pickups are removable with blue-tack and made by a guy a few hours up the road. http://www.peterman.com.au/music/ The one with the treble plus bass pickup are very interesting and work exceptionally well on the acoustic cello. On the rudimentary electric cello it is a bit harsh and am unsure if this is how normal electric cellos are and by using effects smoothing out the sound. Does anyone play an electric cello here and how are they before effects are layered over? Jeffrey how do the electric violins sound without effects? Jaz
  9. Hello all.... old and new forum peoples. Been a long time since logging on to the site. Learning to play on my Montagnana has been keeping me too busy, I guess that's what happens when you make your own cello and fall in love with it! Lately I have been venturing into electric cello thoughts and does anyone know any tips to making a really nice one? For example electrics, and hollow body compared to solid beam. Pics would be great if available. Before making another Montagnana, in 2010 hopefully then moving to another model I want to try an all electric so any tips for would be greatly appreciated. Jaz
  10. Hello all, I have a cello here which requires some cracks in the belly repairing and would like to use magnets for some of these repairs. Can anyone else who uses this technique recommend a magnet size/pull force that is suitable? Thanks, Jaz
  11. quote: BrokenBow wrote: Whatever methods you use, be careful and don't yuen it. Thats a bit of a naughty comment! Please yuen just ignore him. There is an extremely fine line between getting it right and making a big mess and trust me I have found that one out the hard way tinkering with some $20 e**y fiddles. But without formal training those screw ups on firewood fiddles has it's place in the learning process.
  12. Thanks guys for all your words of wisdom. This cello repair is a bit of a favor and an opportunity for some experience building so I am not trying to edge away from it. It is more of a cautious/nervous worry about taking on such a big repair. Since the beginning of the year when cello #2 was completed there has been a steady stream of locals asking for repairs which has been quite exciting and challenging in various degrees but this cello certainly tops them all. The techniques that have been explained here are very easy to understand which will make the repair more straightforward and approachable which is what makes this forum so great.
  13. Hello, I have been asked to look at repairing an old beaten up cello with many numerous cracks on the belly which a few of them are old that have been repaired and reopened. By looking over the cello it has already had a lot of repairs which many have not been well done, especially a sound post crack on the back which has been poorly patched but stable. The main concerns are not hiding the cracks but repairing and stabilizing them and making the instrument structurally sound. I explained to the lady that owns the cello that taking the top off could be opening a big can of worms and it is a job that I am reluctant to take on. Please have a look at the photos at the link below and any ideas on how best to approach would be very appreciated. http://www.jasminedavis.com/boardphotos/eliz_cello/ Thanks
  14. With what Marie said: quote: I personnally would not be proud if I could not finish my own instrument. Who says you can't cut more than one bridge for the same instrument if that means better results? soundposts adjustments and different strings can do wonders too. I really agree with that statement and would be very disappointed to have another setup my instrument after all the hard work. There is nothing wrong with experimenting with different bridges, soundposts, strings etc to get the best sound possible and with that being said how are you supposed to learn if you don't do the above? With my first cello I fitted three bridges, two soundposts and a complete set of strings before I became very happy with the sound. Without that experimentation the setup on the second cello would have been a lot harder.