FiddleDoug

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About FiddleDoug

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  • Birthday November 28

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  1. "Here's a more straightforward question:,how does a shorter bridge differ in acoustics and playing to a higher bridge?(with identical string break angles - imagine the setup is adjusted to compensate) " Since the changes to the bridge that I'm thinking of will be small, I think that acoustics are not going to be an issue. I'm thinking more about playablity and associated effects. If the strings are too high off the fingerboard, it will be harder to play, and having to push the strings down further will add tension to the strings, and change the tone. No ethical luthier would guarante
  2. A spoon?? You really need one of these (A muller, and glass plate), and be prepared to work at it.
  3. I've got to say that violin sure doesn't look mid 19th century! I'm not an expert on 19th century set ups, but I think that you're trying to concentrate on the wrong parts. The overstand and saddle look acceptable to me. You may have misunderstood your luthier: "I could try lowering the bridge height again. My luthier mentioned it as an option but also noted that it was non-reversible.". The bridge is a replaceable wear Item, and it's not a big deal. You don't show a face on type picture of the bridge, and you also don't show the nut. I would concentrate on the nut height, fingerboard profile,
  4. No I'll amend this to say that I've never heard of chalk fitting a sound post, and can't imagine that it could be done on ANY violin. This is something odd, and totally different. Based on a couple of seconds of poor quality video, speculation is pretty useless.
  5. It's hard to tell exactly is going on there, but it doesn't look like wear to me. It looks more like it's been partially gouged out in preparation for patches of some type.
  6. There are times when you need small amounts of green and blue to adjust certain shades.
  7. I made up something along those lines many years ago. It gets occasional use.
  8. "There is a pronounced Delta on the end of the school" That's not what I would call a pronounced delta. This is:
  9. From your wood, I might consider cutting cleats something like this. You can, of course, move that around, or angle, to fit the grain width or direction needed to keep it quarter sawn.
  10. I decided to take a quick photo to illustrate using a bass bar cut off. The grain runs vertical in the bass bar, and I've marked off what I would cut out as a cleat blank for a rectangular cleat. The grain in the cleat is quarter sawn, just like in the instrument top (The cleat is, of course, placed cross to the top grain). To answer your question, The end grain of the cleat is the end grain of the wood, not the glue surface.
  11. I hate to ask, but is that a chunk of 2x8? The grain is pretty uneven. I typically use something a bit more even. I have some cut off ends from bass bar blanks that make nice cleats. I have also used spruce guitar bracing that has nice straight even grain. The Triangle Strings tutorial makes nice diamond shaped cleats. I have a tendency to make rectangular ones. Either are OK.
  12. I thought that was when you do things like cross a cello with a violin to get a viola.
  13. Might as well do a whole new instrument. Tell the customer that it will cost $100,000 (cash up front of course!) and you might be able to get it done in a year or two, or so, with no guarantees (written, signed by him) on future market value, how it will sound, or how it will look. Next move? Or you could just laugh him out of the shop!
  14. Rachelle, I think that the problem is- "I personally think you know a whole lot of it, 3 years will be a waste of time.". I have never been to "violin school", but I do have quite a few years attending restoration workshops. From what I'm seeing of his work, he's probably not qualified to test out of the first two years. I think that he also has somewhat unrealistic views of expectations and his talents. He comments- "The last two they (his friends) commented on how well they were sounding when compared to the earlier models. ". That doesn't say much, as he comments that his first on
  15. Your idea of a basic skill set may be quite different from what a violin making school considers to be a basic skill set. One thing that I'm pretty sure of is that you'll be starting from the ground up, having to prove you skill to the teachers (to their satisfaction, not yours) at every step along the way. In those schools it will be pretty much "their way, or the highway".