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Everything posted by FiddleDoug

  1. Very different! Is the "bassbar" carbon fiber? And does it touch the cross support in the plate?
  2. If you get a small one, I would avoid the 3 wheel ones. I had one, and it was always breaking blades. I think it's because of the blade continually flexing over the smaller radius wheels.
  3. I have one of these, that was my Dad's. It's about as old as I am (1949ish). The thing has a 24" throat, is all cast iron, and weighs a ton. It sits next to my 14" bandsaw, and gets very little use.
  4. Seems like cutting into the top like that is questionable. I would also worry about pulling the purfling in a top removal. If you're really worried about strengthening the area, why not overlay a strip of linen in the area just north of the end block? Linen is a well recognized method to reinforce cello ribs, and I've used it to reinforce over thinned areas in the tops, near the end blocks, of dutzenarbeit type instruments.
  5. "I was presuming that Pernambuco would be considered a better species as a rule. Is that not a reasonable assumption?" Wood is quite variable, and a very good piece of Brazilwood might easily be better than a not so good piece of Pernambuco, and a Brazilwood bow made by a very good bow maker could easily be better than a Pernambuco bow made by a not so good bow maker. Then there's also the old adage about "ass-u-me".
  6. "26 pennies is 65 grams" I found multiple coins to be a bit awkward to play with. I screwed together some assorted hardware from my junk box and came up with this 64.8 gram weight that's easy to hang a loop of thread on.
  7. "I find a 1000 stone followed by stropping to be perfectly adequate" It's possible that you may not know what you're missing. I do a hollow grind with a white aluminum oxide wheel, followed by 1000, 4000, 8000, 12,000, and a quick stropping with green chrome oxide. Done properly, it doesn't take more than a minute or two with each grit. It's sometimes hard to quantify sharpness but this test has been discussed here: "Make a loop 40 weight rayon thread and attach it to a weight (say 60-100 grams). Twenty U.S. nickel coins or 40 pennies weigh 100 grams. An edge that cuts the thread (wi
  8. So is trying to buy treasures sight unseen on line! I did see the "number of people" part!
  9. No, division by 0 is undefined, and not possible.
  10. "paying in the 000s and selling for 2X 000s." 2 x 0 is still 0!
  11. Well, it doesn't appear to be the usual cottage industry dutzenarbeit, so value is relative. It would also depend on how well trained your friend is as a luthier.
  12. I always specify "tuned to A 440" when I buy my glue. I get the glue, and I don't have to worry about it.
  13. I forgot about the Sawsall!!!
  14. "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
  15. A spoon?? You really need one of these (A muller, and glass plate), and be prepared to work at it.
  16. 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,
  17. 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.
  18. 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.
  19. There are times when you need small amounts of green and blue to adjust certain shades.
  20. I made up something along those lines many years ago. It gets occasional use.
  21. "There is a pronounced Delta on the end of the school" That's not what I would call a pronounced delta. This is:
  22. 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.
  23. 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.