Marijan

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About Marijan

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  • Birthday 04/14/1966

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    www.violineradaljac.com
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  1. Marijan

    Good Soundpost Wood, Old vs New

    Same here. I use old piano keys, from an old mid 19.th c, Austrian piano, that someone demolished and let me take what I need. Tight, straight grained (european) spruce. Nice posts.
  2. Marijan

    Bridge position: What's most important?

    As far as I can see from that angled photo, the position of ff`s on your violin is on the high, north side few mm higher than usual. Not sure that you can be anywhere near 195 stop with those ff`s and 353 body. Hard to tell from that photo though. In short, I would take wanted or prefeed string lenght (325 -328) as a starting point, set bidge (regardles of the notch position) and post and adjust afterlenght consequently.
  3. Marijan

    Does anyone NOT build Strad? And if not, why?

    This one came to my mind while reading last few posts. You have to earn your right to be right, even if you are right .
  4. Marijan

    Ergonomic Viola Idea

    Thank you Manfio.
  5. Marijan

    Ergonomic Viola Idea

    Hi Manfio, Can you please tell more about your reasons to make transition from original »Conte Vitale« thicknesing map to thicker plates, beside Zukerman sugestion. I remember that we exchangend a couple of mails some 8-9 years ago, when I was building my first »CV«, and when we talked about thickneses, you sugested me to follow original thickneses patern. What was, sound or performance-wise that you where unsatisfied with when still doing original patern? My CV interpretation with original thickneses had a problem with A string witch was somewhat out of balance with the rest of the f. spectrum, it acted more like violin A. Some problems with woolfs. Although it was powerfull, very responsive and was projecting well, I felt that I would like to see broader »collection« of hamonics. Some of those problems where solved when I replaced a bas bar on one of violas for a higher, stronger one and with slightly tighter sondpost set-up. But than response went down to some degre. When all setted with the new bas bar, the instrument was more than appropriate for viola player in big orchestra, but I still thought that it can be done better. I am going to start ne viola in a couple of months, so thank you very much, for your short »article«. Enlightening.
  6. Marijan

    Does anyone NOT build Strad? And if not, why?

    Thank you for reminding me Peter. After 12 years, there is new site in the final stage of making. It should be on the web by now but we had some problems. Few more days...
  7. Marijan

    Does anyone NOT build Strad? And if not, why?

    Peter, as I see things, archings, internal volume of the body, f hole placement, plates surface areas, weights consequently, flexibility of plates, different with diferent C-bout areas for example (long / short, wide - narrow). Many things do change with different outline. Differences may be subtile, but I could not imagine that changing the outline would not influence the performance of the instrument. It will also affect the way how you execute the thickneses, heights of archings, weights of plates etc. That is my expirience at least. I don`t think that the vast amount of forms left by Antonio S. where just playing in the beach sand.
  8. Marijan

    Does anyone NOT build Strad? And if not, why?

    Regarding original question, just few thoughts based on personal expireience and observation. I made 20 violins based on the »Messie« drawings from Asmolean museum. At first I did try to copy form, given archings and thicknesess, later I still used the form but started to change the shape and height of the archings and made some variations of thicknesing maps. Made a couple of good and few not so good instruments. Than I got DG »Lo Stauffer« and »Plowden« posters. Since than I made most of my instruments using that forms, out of the similar reasons as Don`s. I tried quite a few archings, original ones, my own interpretations of DG arching, even the Strad like ones implemented on DG form. I was mostly surprised by the fact that the change of the arching on identical form, made much more diference in tone than changing the arching on »Messie« form. Longer, stronger C bouts perhaps? Anyway I felt that that form gave me more options to experiment than »Messie« form. Didn`t try diferent Strad form though and neither other oldtimers forms. Shorter DG with 325-328 string lenght seems to be liked by female players and mail players didn`t have any problems. It is interesting that it was much easyer to apply sul ponticello playing technique on DG form based instrument than on those I made on Strad form. It just took much more bow preasure than Strad. Response and projection is better on my DG form, and – personaly – I do prefere DG tone. I`ll stick mostly on DG for now, till I decide that I have enough knowladge and mostly expirience to try my own form. It`s a matter of personal opinion as I think, like choosing between Messerschmitt and Spitfire for example . Both good, but different.
  9. Marijan

    Gluing

    Never tried "go like hell" way, but I would guess that replacing few clamps at the time while reactivating pre glued joint is more relaxed method. I do not size ribs and plates, I dry fitt the rib cage with spool clamps, leather lined with wingnuts that I made, or use my Herdim clamps. I than remove 3-4 clamps, apply thin hide glue with a table knive and reclamp. I do corners first, than blocks and bouts the last. Some cleaning of the ribs and edges is required doing it that way. I need to try "reactivating" method.
  10. Marijan

    interesting old violin, ideas anyone

    Not all but majority of the forged nails had squre heads in those times. In OP photo there seems to be more like oval shape hole (W-E direction), rather than round. I guess that nail had squered head and rectangele "body?" originaly, something like 6x3mm at the head, or slightly larger. When head was forged the material just below the had took slightly oval shape (more rounded on squere nail "body"). You can see that "efect" on many old hand forged nails.
  11. Marijan

    Marking bridge position into front

    Sorry to missquoted you. And yes it was miss-type.
  12. Marijan

    Marking bridge position into front

    Moving by it self and moving caused by mishandeling or accidentaly aplied force on the bridge are two different things. And you are probably talking about the violin you have made, completed set-up and permanenty marked the bridge position, the violin that isn`t hanging around for such a long time that would be handled by anyone else but you till the accident happend. »There are two dots 3mm behind the bridge, two lines in front of the bridge, a couple of X marks on every side of the bridge, impresion from the bridge feets in the varnish, what should I do??« Well, set it around two mm behind the post position for a starter. Bring it to me ass soon as you can. If you go through my posts you wil see that I have no problems with the fact that some makers permanently mark the initial bridge position. I simply see things diferently. But OP was asking about the dott marks on old , was it italian instrument?, and I expresed my feelings about that too.
  13. Marijan

    Marking bridge position into front

    The bridge uder the tension has no real tendecy to move by it self. It has to be moved by someone, or it has to fall down for what ever reason. I would sugest visiting a luthier in both cases.