Tets Kimura

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About Tets Kimura

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  • Birthday 03/23/1979

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  1. I'm getting this violin ready for the upcoming exhibition in Tokyo which I'm helping to organize. The exhibitors include some of the exciting Japanese makers such as @Andreas Preuss , Keiji & Aya Nakanishi , and other makers from abroad such as Catherine Janssens, Victor Bernard, etc. If you ever happen to be in Japan between 8th ~ 10th Nov , please come along!
  2. So everybody's pleased he wasn't good looking.
  3. Tell me if the original Guad has a bad reputation for its sound (or the look for that matter), and then we'll talk. I'm not directing this to you, reguz, btw.
  4. Thanks, Evan. I'm getting the hang of it, but every instrument is still a challenge.
  5. I'd left it unstrung for a little too long but the viola's been finally finished. @Andreas Preuss I'd love to show it to you when I can. It's been too long since we spoke.
  6. It's amazing what you can achieve. I presume the wing crack is artificial.
  7. Hi Andreas, Melvin has made at least one copy of a Goffriller viola. Hope he chimes in. I've got a drawing and measurements of a Goffriller viola as well, but I've never tried to make it, yet.
  8. Thanks! @arglebargle Yes, it is walnut crystals. I make a thick paste and apply it with a sponge, and then use a hairdryer to induce crackling. The method itself is not much different from how many other makers do it. However, I do this at the very beginning of the antiquing process. I literally cover the whole instrument in a thick black goo after varnish is dry but soft enough to move for the right type of crackling I want. It can look horrifying if you've never seen it like this before. After you wash away the paste and continue with the rest of the antiquing process, most of the crackling also starts to look worn and hardly visible to naked eyes even if it's still there. In this way, you can avoid having the crackling that looks unnatural, and also the remaining varnish looks more three dimensional and not flat even though there's no visible crackling with dirt in it.
  9. That's an extremely handsome cello. Congratulations!
  10. I've had the above violin back momentarily for a quick check-up and a couple of minor adjustments. Nice to see one of your work is being loved and cared for. @FoxMitchell , I alomost always induce crackling on varnish by using https://www.kremer-pigmente.com/de/saftbraun-41050.html And 16 1/2 inch viola inspired by Gasparo da Salo is coming along nicely. I've had some difficulties this year to concentrate on my work, but things are slowly starting to improve finally.
  11. I don't know about their newer posters, but some of older ones are terrible. I understand it is nothing to do with contributors who provided photos, plans and measurements, though. The one I remember particularly is the G.B.Rogeri violin poster, which the back outline was scaled to match the measurements taken over the arch, so it's actually way too big.
  12. Have you applied another coat of varnish after you'd used the oil paint as dirt? If you've left the oil paint a little too thick, and therefore not dry enough when the next coat of varnish was applied, it could cause crackling.
  13. You can certainly learn from what sort of old instruments are selling at the moment. I'd been working in a shop where they had things from the high-end stuff to the lower end, and rightly or not, what had been considered at the lower end was often the instruments with high arch.
  14. Unfortunately, it really depends on what your CURRENT market demands. Whether your Stainer models sound better to you (or anybody) than a Strad model, that's irrelevant. I mean, I wish I could convince my clients that they could play on an Amati model, and they'd still be heard in a concert hall, but that's not the reality.