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La Fiddler

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  1. I have a real old violin totally apart and need to clean the old hard caked glue off of the ribs edges and both plates. I was wondering if sanding with a flat board supporting or trying to dissolve would be better or just what, would like some informed opinions. Maybe someone out there has undertaken this time consuming job.
  2. La Fiddler

    Old glue

    What is the best way to remove glue from an old, old, violin.
  3. I took the measurement, it is high, 29mm between the notches. What are the pro's and con's of being high in this respect. Thanks
  4. Hey Michael, thanks, I'm going to go do that measurement.
  5. Thanks guys, I was a little off on my measurements, the bridge is actually 34mm, and end of fingerboard is about 22 mm above belly and the fingerboard is 4.2mm thick. What are the tolerances? The fiddle is a good quality old one, sounds a bit like a viola which I like in a violin. Anyway, thanks
  6. Hey Licastro, I'm not an expert, but have had success with some of mine by moving the sound post closer to bridge and if that doesn't work, (or even if it does) check the width of the top of your bridge where the strings rest, thinning here can cause great improvment if the bridge is thicker than it should (could) be. I have one violin that I knew looked a little thick there and just kept putting off doing it, because I didn't play it much (didn't sound that great) finally unstrung it and carefully took it from almost 2 mm down to 1.1mm strung it up hoping to hear some improvement and realized a major one. I now enjoy playing this one too. Hope this helps. J.S.
  7. I have a violin that has the neck set where in order to get the correct string height (measured from fingerboard to strings) I have to have the bridge 32mm tall. I've been told that this is too tall for a bridge. The fiddle does sound pretty nice like this anyway, but I was wondering if there were any tricks to doing this correction without totally ungluing the neck and resetting it. Any and all help appreciated. Thanks, JS
  8. Thank you for your insight to my post. All good points. What I still don't understand is that there are more than just mine labelled Richard Rubus and of the strad. pattern, so it seems that not just an individual would have stuck one in mine so not an isolated case. The violin that I have, is very nice quality in sound and construction also at least 80 to 100+ years old. It is very light in weight and has a dark finish (except where the finish is rubbed off where it is a yellowish color. It is highly flamed on back, ribs and scroll. It is one of my favorite violins being warm to dark with good projection. Anyway, now I sound like I'm bragging. sorry. I just wonder though if it could be one Rubus made before or after the printed label models and could he have actually made some strad patterns on a limited basis? It's kind of interesting. Any thoughts or info. appreciated.
  9. I have a really old violin with the label hand written on what seems to be linen type paper. (used in the early to mid 1800's) The label is in nice old script as follows: Richard Rubus, Petersbourg, Vr. Most Rubus violins out there are smooth or rounded edged type all with type set printing on labels dated 1850, and has name as Rigat Rubus. I have found a few that exist labeled like mine and mine is a strad pattern. One guy said mine was probably a fake Rubus because all the ones he had seen had the flush round edge and all had a printed label not hand written or of a Strad pattern. Most do not bring a high price, $400-$900. This one and the very few like mine, no one seems to know much about other than they do sound nice in tone and volume, I find it hard to believe that someone would have been out there making Rubus copies, and if they did one would think they would at least make the smooth edge pattern. Any thoughts out there on this? I would like to hear.
  10. The one in the middle seems to have a higher arching than the others. So that would be my guess ( also has a shine the others don't have)
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