FiddleDoug

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About FiddleDoug

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  • Birthday November 28

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    http://www.wallindependent.com
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    Hilton, NY

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  1. FiddleDoug

    Setting up.

    It's as much about fit as placement! The ends of the soundpost must have almost 100% contact with the inside of both plates, and the length must give the correct tension. The bridge comes as a blank, and must be cut and trimmed to the correct dimensions. The feet of the bridge must be cut to fit the top exactly. Bridge blanks are too thick, and must be thinned and shaped correctly. Finally, the bridge must be trimmed to give the correct string clearances
  2. FiddleDoug

    Cello Neck Repair

    If you look in your copy of Weisshaar & Shipman, under "neck pinning", pg 183, (which is about as traditional as you can get), you'll find that they recommend that the pin be put in at an angle, and say, "The angle of the drill should be as steep as possible. This is very important. If the hole runs parallel to the neck foot, the pinning will not hold."
  3. FiddleDoug

    Could this be Strnad?

    Are you thinking Kaspar Strnad? I had to look him up.
  4. FiddleDoug

    Catastrophic Crack?

    Pretty big. Even though my general rule is back off is a last resort, I think that this might qualify. Birdseye maple has some pretty funky, irregular grain, and may not go back together easily
  5. FiddleDoug

    Mystery Violin?

    It's possible that I may be missing something, but from these photos it looks like a typical Marki that's been stripped and revarnished. Pretty poorly fitted pegs also.
  6. FiddleDoug

    relationship between camber and balance on a bow

    " so when the stick is heavier, it should gain somewhere in stifness at the frog" The wrap, no matter what weight, does not add to the stiffness. Try wrapping some wire around a pencil, like you would a bow stick, then slide the wrap off the pencil, and see how stiff the "spring" that you've made is, compared to the stiffness of a bow stick near the frog.
  7. FiddleDoug

    Scratched off label after repair

    Perhaps, if the label is one of the common copy labels (made in Germany, etc.), you can get a reproduction, age it with some tea, and have your luthier put it in for you.
  8. FiddleDoug

    Cleats or sound post patch?

    Yes, you can. I've made some nice ones using a hole saw to cut disks out of 3/4" thick vinyl trim board. I glue rubber sheet to the disks to provide a cushioned non-slip surface to go against the front and back. For a cello set of say 40, (Herdim uses 42), it will probably cost a bit more than $25. 8" x 1/4" carriage bolts aren't very common, and you might have to order them. The other option would be to cut up about 30' of allthread rod. wingnuts and washers aren't very expensive.
  9. FiddleDoug

    Cleats or sound post patch?

    That will be a top off repair, and you should be prepared to make a partial cast of the area to keep you from punching a chisel through the front when you get down to < 0.5 mm thickness. You'll need a deep reach caliper so that you can monitor that thickness in the patch area. You'll need VERY sharp gouges and scrapers, and equipment to keep them sharp. You'll also need about 40 closing clamps to glue the top back on. (You can get a very nice set of Herdim cello closing clamps for about $700 )
  10. FiddleDoug

    Varnish touchup and clear varnishes

    You have set your sights way high! Varnish retouching is perhaps the most difficult aspect of restoration work. I have spent two weeks in workshops with a real Master at retouching, and still consider myself as being only adequate at the task. Each blemish on an instrument may require a different treatment and different materials. There is no real way to address the subject here, as it's almost impossible to really describe the process without hands and eyes on demonstration and mentoring. That being said, you might consider buying this book as a starting point.: https://www.metmusic.com/media/miscellaneous-books/3319-the-art-of-violin-retouching-2nd-edition-brian-epp
  11. FiddleDoug

    Varnish application. - thick layers versus thin layers

    " if we are using turpentine soluble varnish we can apply it in let's say 3 thick layers with a brush or in 100 ultra thin layers with a cloth. Is there any difference in the visual result? " I don't even use thick coats when I'm building furniture! Thick coats are more prone to dripping, running, and other nasty things. Many thinner coats are the way to go. I use about 6 coats for either application.
  12. FiddleDoug

    Violin endoscope

    With the right light, the inexpensive endoscopes work pretty well. http://www.wallindependent.com/interesting-fiddle-stuff.html
  13. FiddleDoug

    Violin endoscope

    You need better light for the inside of the violin, so that you can turn off the wimpy little light on the endoscope. Something like Luthier Lights is what you need.
  14. FiddleDoug

    removing fingerboard

    " I'll have to look into getting a plane." You appear to be woefully under equipped and under trained for this type of work. Sanding the neck here, and running the FB blank on a belt sander are not good things. Sanding the neck here won't give you a flat neck if there's any warp or bow in it. Using a belt sander on the FB blank won't guarantee you a flat matching surface, and you really need a plane to get the correct profile on the top of the board.
  15. FiddleDoug

    The Incredible Shrinking Double Bass.

    I would find it unusual to have an instrument self destruct after ten years. After one or two years, yes, but not that far out. What kind of conditions are you storing it in? At this point, you really need to take it to a really good bass luthier. In my opinion, the top really needs to come off, and get re-stabilized flat. With the top off, the ribs can be repaired. Getting the top flattened out and stable may take some time.