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Everything posted by FiddleDoug

  1. I would say that the top needs to come off. That type of crack is often caused by shrinkage in the top. Notice how open the crack is at the edge? Almost impossible to close that with the top still attached. The crack also needs to be clamped and supported from the bottom to maintain the proper arching profile. Putting proper cleats on the crack is also very difficult with the top on.
  2. Your options for repairing it are: 1) Take it to a qualified luthier. 2) Go to school to learn to be a luthier yourself.
  3. This is going to be a bit of a guess, since I don’t have the instrument in front of me. You’ll need to keep your water and cleaning solutions from getting into the instrument. I would get a long strip of cotton fabric about 5 cm wide, and feed it in through the f hole to catch any excess fluid. Leave the end hanging out of the f hole for easy retrieval. Start the cleaning with distilled water. A small artist brush might help loosen up dirt. You’ll probably have to use stronger materials. Triton X100 is a strong surfactant that can help. Things like bleach or hydrogen peroxide (don’t mix them!) are also used. After using stronger materials, you’ll need to rinse the crack with distilled water. After it dries, you’ll have to work hot hide glue into the crack, and clamp the crack closed. You may be able to use a wooden wedge in the f hole to close the crack. A cleat or two on the inside of the crack would keep the crack from opening. This is easy if the top is off, but special clamps can be used to add some types of cleats with the top on. Usually , the crack needs some varnish touch up. If this sounds complicated, it can be. That’s why luthiers spend hundreds of hours training on this stuff. Good luck!
  4. The questions that you have asked can’t be answered with simple answers. Each crack has it’s own characteristics that may require modifications. First problem is that the top is not off. It needs to be cleaned out from both sides, and cleated after it’ glued. I also doubt that water alone would clean that out. Are you a trained luthier? If not, perhaps you should take it to a good luthier before you mess it up.
  5. I’ve seen lots of things on YouTube that aren’t too credible (aliens, free energy, etc.) and this ranks right up there. Could be that he’s a guitar guy. They use Titebond.
  6. Your not identifying it? No pictures of ribs, corners, end pin, front and back of scroll/pegbox, or throat of scroll.
  7. Shouldn’t you know to supply a decent photo series by now?
  8. The corners and the back of the scroll look like the usual Markneukirchen area cottage industry violin. How far in does the scroll fluting go? Not sure about the f holes?
  9. Just one source. https://www.cremonatools.com/filetti.html
  10. I looked up purfling widths, and from one source it was; violin 2.0mm, cello 2.3mm, double bass 2.5mm. That might save you this time.
  11. Most likely something from the Markneukirchen area, early 1900s. Better pictures based on the post at the top would help.
  12. Wow! After looking at the pictures, before reading the rest of the thread, my impression was "looks kind of like a Jackson- Guldan".
  13. Rubbish bows are good for practicing recambering. Disclaimer: While I have recambered bows, I'm no expert, and I, personally, wouldn't recamber a really nice bow. I would refer that to someone more experienced. It's a tricky process. You have to get sections of the bow up to just the right temperature to get it to work. Too hot and you'll scorch the bow, and too cool and the wood won't bend. You should also have a curved block to bend the bow over to get a smooth bend with no kinks, and to lessen the chances of breaking the bow. There's always a chance of breaking the bow, and if you're doing one for someone else, both parties have to be willing to accept the risk.
  14. "seeing the lack of linings to the top edges" I always say that if they couldn't see it through the f holes, it didn't matter too much to them. - Roughly carved inside of top, fake lower corner blocks, no upper corner blocks, no linings on top.
  15. Good point! Thanks for bringing that up!
  16. Very unusual! A label that's kind of believable! I think that you have it about right- low end cottage industry type, maybe Markneukirchen area(?). The McKinley Tariff act of 1890 required English language labels for imported goods, but I'm not sure about "Italian" type labels in violins. Usually you will see the bottom line say Made in Germany/Saxony, etc. This one might be in that 1890ish area. Just my guess
  17. Thanks for posting the article. Like others, I was unable to read the original article. This isn't like your plain old wifi tracker! It seems that the Apple Air Pod is the big problem, and we need to push Apple to fix this, and make it impossible for nefarious people to use them for this purpose!
  18. I'm not a maker, but I have had a couple of opportunities to finish instruments. I've used vernice bianca, and it seemed to work well. In a couple of instances, I mixed a very small amount of yellow, transparent iron oxide with it to give a golden ground. The usual recipe for vernice bianca calls for sugar, but based on info that I had at the time, some people left the sugar out, so that's the way I went.
  19. Bluetooth usually only has a range of about 10M. I'm not sure how useful that would be for tracking. I did a quick search and it appears that the longest range bluetooth tracker has a range of about 400 ft., but that would depend on building walls, etc..
  20. Wasn't there some speculation (Roger Hargrave) that casein glue was used historically for center joints? That kind of glue is probably about as old as hide glue.
  21. I watched part of the video that the OP posted. One subject that the "Maestro" touched on was using plywood for repairs. While I certainly don't advocate using this willy nilly for all repairs, I do believe that it has a place for repairs on some instruments made by "lesser Gods". I've been using this for years for certain things. This is what I have in the kit. It's 0.8mm thick, and can be cut with scissors. As with most plywood, it bends better in one direction than the other, but it's quite strong in all directions. I've used it as an overlay for rib repairs on student instruments, and as an overlay "sound post/wear patch" for student instruments (some people advocate not using a soundpost patch for small, fresh cracks). While this is not the classical inlaid repair, it is totally reversible, doesn't remove original wood, and can provide an economical repair option for student instruments. I'll be waiting for the "purists" to chime in.
  22. I’ve used it for gluing parchment patches on bridges, gluing linen onto ribs, gluing on some cleats, and a couple of tiny drops to hold nuts in place, I wouldn’t use it for any structural joints, or crack repair. The glue that I use is Lineco pH neutral, archival glue. It’s used for book restorations.
  23. Here’s a guess, based on my science background. The soundpost has less mass, and probably a higher resonant frequency, which would work better with higher frequency from the treble bridge foot. The bass bar, along with the front plate (glued together as a unit) would have a lower frequency, would be better coupled to the bass bridge foot. Does that make any sense?
  24. Please take a good set of photos as described in the sticky post at the top of the forum. Without that, we can’t tell much.
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