Tets Kimura

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About Tets Kimura

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    Senior Member
  • Birthday 03/23/1979

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    : Not far from Tokyo
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  1. My Montagnana model played by a talented young musician.
  2. Yes, it's working now. Thanks!
  3. I had not been able to access Maestronet for a week or so. Since then I've found that I can reach the site by using a proxy server. I'm guessing the server is blocking access from IP addresses from certain countries (in my case Japan.)
  4. @Andreas Preuss can correct me if I'm wrong, but it seems far less common to stamp bridges here in Japan. I suspect it's something to do with the traditional craftsman's mentality.
  5. That was entertaining. Thanks.
  6. 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!
  7. 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.
  8. Thanks, Evan. I'm getting the hang of it, but every instrument is still a challenge.
  9. 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.
  10. It's amazing what you can achieve. I presume the wing crack is artificial.
  11. 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.
  12. 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.
  13. That's an extremely handsome cello. Congratulations!
  14. 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.