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About kittykatjaz

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    Playing my cello, being an an orchestra and making things.

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  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 i
  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 inf
  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 so
  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 w
  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
  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 app
  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
  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 d