Daniel Martin

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About Daniel Martin

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  1. Yep, that link is the one I have a copy of. A fellow in Illinois made some reprints of it and I have a copy of the reprint. It is full of ideas, but they are hard to uncover as it was written 100 years ago and style of writing was different at that time. I'm reading it for the second time and find it interesting.
  2. I have this book as a reprint with 307 pages. Has anyone else read it? Full of information written in 1906 by the author in Lowell, Indiana. He spent a lifetime repairing and trying to improve the tone of old violins with success and offers his ideas.
  3. Have made several new violins. I will play a new one for six months or so and then play another new one. After leaving the original one at full tension for about a year the string to finger board height changes about 1 to 2 mm higher. I am using heavy gauge steel rope core strings. I have since reduced tension on the strings when I am not going to use for a while. Do other makers see this in their violins? Do you just adjust the bridge and expect the rising neck to have stabilized? What is considered normal over a 6 month to a year for a new violin.
  4. I was just getting on line to look up old post of this same topic. Just yesterday strung up a newly completed violin #9. I really like the way a fresh violin sounds after a few hours. But after a few weeks to months the turn a more "nasal". They may have as much projection and volume but the tone changes. I'm sure much of this is due to the cure of the varnish. I would like to have that bold open sound with out the change in tone. i do a reset up at 3-6 months with strings soundpost and so on. But never capture the new sound. I have nothing to add to Johns questions but was wondering about the reasons or cures.
  5. Michael Darnton once said in a post on this forum that the fiddlers like a very loose sound post. I have tried to find the post (an old one) without any luck. Does anyone have any input on this statement? How does a loose sound post affect the sound? I am interested because most of my music is fiddle tunes and bluegrass. I am working on violin number 9 and 10 at the moment and have always set the posts as recommended by the best books available. Set just to fit with a minimum of pressure. Michael Darnton's statement has always stuck in the back of mind and I have not had a resolution to this issue of a loose sound post for fiddlers. So why would fiddlers like a loose sound post?
  6. I am currently varnishing #8 and have 9 and 10 started. Looking forward to playing #8 - european maple back sides and neck and the top is Simon Chambers 50 year old wood Lord Wilton Guarneri del Gesù (somewhat) copy.
  7. " font-family: Verdana; color: black; font-size: 10.0pt;">I am setting up a older bass. The fingerboard has a flat area under the E string. Which seems to done right (11mm at the nut and 25mm at the end) and at about 60 degrees. This will be used for bluegrass, not with gut strings. There is plenty of board left to plane it all. Customers other bass is fully radius and tells me to do what I think best. Should I leave the flat area, or not, and put the fingerboard at a 95 redius even with no flat area?
  8. I am working on a 3/4 Bass to set it up. It has be setting idle for about 12 years. The bridge is curved from the full tension on the strings for those years. Is it worth while trying to straighten it or should I supply and cut a new one? It is in good shape otherwise altho it is of a lower priced stock. Owner tells me to spend hours or dollars to set it up properly. So new bridge or straighten old one?
  9. I have been using UV lights that I got at Pet Smart in the reptile section. They tan wood great and dry varnish. Tried Black lights and they didn't seem to do much. http://www.petsmart.com/product/index.jsp?...search&keepsr=1 This is the type I have used. Very effective.
  10. Thanks Oded, yes I did size the end grain. It seems as tho I have a good joint with this and am proceeding. Dan
  11. I did a bad thing. I cut my neck 6mm short (where it would extend into the body). It was almost complete and ready for the fingerboard. I have glued on a 8mm maple attachment to extend the neck and will reshape. It looks like a good fit and a good glue job with strong hide glue. This is my 6th violin and will most likely not be sold to anyone but either loaned or simply used by me. Is this an ok thing to do or should I start over completely on a new neck?
  12. Yes, I sing or hum the tune in my head while playing. I play mostly by ear or memorized fiddle tunes. If I could not hum the tune in my head, I would not be able to play it. If when doing a break on a vocal tune I don't know the melody of have just heard it for the first time then I will rely on chords to fill in the gaps in the moldy I don't know. If I do not have the chord progression down then I pass on a break.
  13. usually just use rottenstone and an old soft cloth. My feeling is if you polish the top too much you will loose the texture of the wood and in that case there is no reason to leave the raised grain in the first place. ------------------------- "http://www.johnstonviolins.com" target= "_blank">http://www.johnstonviolins.com Do you use any water or oil with the cloth or do you just use rottenstone on a dry cloth?
  14. I have one coat of clear over my color coats of varnish on number five. I have have a highly textured top (raised spring growth). Any ideas on how to rub out the varnish. Usually I use 600 wet dry and water and then a couple micro mesh grits followed by pumice and then rottenstone. Afraid to use sandpaper on the raised grain. the raised grain will be cut down and bare wood exposed. Do I use rottenstone with a toothbrush? Will that work? I plan on putting another coat of clear on the rest of the violin and finishing as I usually do. Am I on the right track for the top or do you have some ideas. Dan