Tets Kimura

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About Tets Kimura

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  • Birthday 03/23/79

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  1. How Messy can Your Shop get?

    That's as tidy as my workshop can get.
  2. F-hole finessing hacks

    Nice video, Davide. I'm impressed that you are locating f-holes from inside. I've tried that a few times, but it never worked out for me. I finish f-holes with my knife rather quickly, and I like the no-muss no-fuss look I get. I don't mind seeing a kink here and there as long as f-holes (or rather a whole instrument) look classy. Although I understand that's quite a different approach from Davide, or David Burgess. But, hey, you gotta choose the side you're most comfortable and natural with. Having said that, I must admit sometimes I clean upper and lower holes with a piece of sandpaper wrapped around a reamer without cutting edges.
  3. Christian Bayon´s bench

    Now that is classy!!! I'd love to see the rest of the cello, please.
  4. Artistic decisions

    Yes, I'd copy it with an asymmetric mold , or more likely with a skeleton mold, but I'd have to copy it well. I wouldn't do it if it was a violin especially because the maker is unknown. Contrary to some comments, a viola like that can sound great. I'm not saying that anyone can pull it off, and you'd want to know if the real thing works as an instrument, AND why and how it works as a 3D object.
  5. Wow, David, I wasn't even born yet, in 1977! That tells you something. As for the video clips, it is quite educational to watch them with sound turned off. And that's not a cheap slur on the sound quality.
  6. Viola plate weights

    I would have thought Fjodor was talking about a viola with an added E-string, and you can buy an E-string for violas, too. Considering it will be under higher tension than a normal viola, it is wise to keep plates relatively strong. Bear in mind that a heavier viola doesn't necessarily mean a viola which feels heavy, and lighter plates don't necessarily produce better sound either, especially in the hands of a good violist.
  7. High top arch

    I don't think you should go over 17mm, if you haven't done it before. Don't forget to consider depth and width of fluting.
  8. Tets Kimura's Bench

    The viola's been finally strung up. More adjusting to come, but so far so good.
  9. Tets Kimura's Bench

  10. Tets Kimura's Bench

    A violin and a viola are being varnished at the moment. I still need to work on some details...... I'm particularly looking forward to start setting up the viola, because something just clicked while making it, and everything fell into place.
  11. How to do asymmetry

    I use a normal symmetric mould most of the time, but because I don't bend ribs to fit the mould all that accurately, and because I often fit a neck onto a rib structure before drawing and making plates (Ben Ruth wrote an article on this on the Strad Magazine a while ago), I can build naturally assymetric violins naturally. When I want to be freer to make something like a Montagnana cello, I use a skelton mould. And occationally I use an assymetric mould. On a few instruments, I've used a three layered mould to make a rib structure which fits a front and a back whose outlines are very different to erach other. I remember that Melvin saying that he used a three layered mould for his Goffriller viola copy, too.
  12. Contemporary violin in concert competition, live

  13. Christian Bayon´s bench

    Great news!
  14. What does the Pegbox think of this scroll ?

    It's too obvious what it is, and that makes it harder for makers to give you a fair critique. I find it interesting too see other makers' interpretation of this scroll.
  15. Grinding powder pigments with oil

    I usually grind pigments in oil before mixing with varnish. You need to be careful not to add too much oil, though, since it'll alter the characteristic of varnish too much, unless that's what you want to do. When you add a drop of oil onto pigments, it might not seem enough first, but as you keep grinding the mix, it will become more fluid. Patience is the key.