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Melvin Goldsmith

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Everything posted by Melvin Goldsmith

  1. Come on Peter!...you gotta have some love for some |Peter Guarneri and some Guadagnini etc...Some of them will blow your mind! You will love them for sure!!!
  2. Well in that case why are you asking here...just buy a stock of all the best tailpieces you can lay your hands on as many will have at hand here and try them. I am not particularly impressed with your roll call of violins. I regularly set up much more exotic stuff for some of the finest living players. I refer you back to my advice re the tail gut widths and the gut itself can be considered.
  3. The ultimate proof of my estimation of you
  4. The best way to optimize your violin is what the great players do..ie.adapt your technique to the instrument you have. Personally if I am selecting a tailpiece for a violin I am setting up weight would be the last of my considerations given the normal parameters. I'd be looking at the width between the tail gut holes.
  5. So far...from what I read...Guadagnini lived in intimate contact with the finest musicians. This does not seem to be a theme in the history of Stradivari...I wonder if that reflects the interpretations of history or actually tells us something more?
  6. What kind of varnish are we trying to make?....A boat varnish? If you wish to replicate the incredibly fragile and delicate nature of the Old Italian varnishes you must embrace the natural falabilty of the ingredients you consider
  7. I don't post here much these days but I need to say that at the very finest ends of making and restoration female operators are doing top end work in similar proportion to men.
  8. You don't want a violin producing overtones. That is the player's job...a good violin is one that will allow a player to do that when they wish
  9. Never in my life since I was a kid did I ever have any doubt how to sharpen a tool to do a job, dump tools that would not take an edge or were out of temper....from razors to axes..... How can someone need a hohning guide?,,,let's face it if you don't know the correct angle to sharpen how will you know how to cut with the tool...want a guide for that....what next?
  10. Exactly...You wouldn't want to drive a 700hp sports car with stiff springs and no dampers!....Damping in fiddles is what makes the bow contact feel good
  11. I find that varnishes with a high resin content show characteristic white scratches that one does not find in old Cremonese work.
  12. It's an elementary piece of woodwork..Joining two pieces.....If you can't do it or need to theorize it you are fired!
  13. I recently bought a Veritas apron plane with a PM-V11 blade....The first use was re shooting a very gritty ebony cello fingerboard. The performance was incredible. I did not need to resharpen at all. This is a job that really kills a blade. The blade continued to impress to the extent that it would seem a no brainer to upgrade all kit to Veritas PM-v11 On the other hand I have an expensive Kershaw Pocket knife with PM154......piece of cfrap...no where near as good as proper carbon steel
  14. I'd be tempted to repair the original collars in situ using cyanoacrylate and ebony dust
  15. I use a CBN grinder for primary bevels and DMT diamond stones for sharpening followed by stropping the edge on the leather wheel of a Tormek as described by John Cockburn. Sharpening must be done as fast as possible unless it is a hobby.
  16. Whatever gets the job done faster...we can't charge our clients for us being anally retentive re sharpening. Tormek is too slow for cutting back. I use a CBN grinder for that for primary bevel. Secondary bevel Tormek finish on diamond plates or oil stones Washita and Arkansas and final buff on Tormek
  17. You don't need graphite or chalk to fit a bar. It's not going to tell you anything you can't already see. You can see all aspects of the joint and the gluing area is big.
  18. Yes and no. I make varnishes for the different layers in different ways. Generally I will pre treat my oil and resins and combine with minimal heat or no heat. Heating oil reduces it's brushing time and add's no color so I prefer to keep the oil ratio low and the brushability high.
  19. Basically by heating the resin and oil together you made some kind of plastic that is insoluble in turpentine. It's a complete myth that resin and oil have to be heated together for hours to form some kind of magical bond. For centuries artists have been combining these mediums cold to make glazes with a view to proven longevity.
  20. How long does it take to make a really good violin.....about 40 years experience I would say...similar for surgeon. You need to wind your neck in
  21. I bought in a couple of corene ones to try. ..First impression was a chemical smell, The playing surface seems almost ready to go but they seemed so acoustically dead compared to Ebony that I was scared to progress, . It's a near perfect board saving 2 hours, However colleagues tell a lot about these coming unglued plus it seems acoustically dead....I am looking for every small percentage of gain....I think these could be a slight gain for me in work time but not for my customer so they go in the bin
  22. Yeh...me too...I don't stamp because I think it just looks utterly vulgar. I put my ID and the date under the arch out of sight
  23. I know there is a preference for sub .38. I like plus 42 at least
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