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Posts posted by FiddleDoug

  1. 22 minutes ago, JacksonMaberry said:

    I'm with Michael - if you have budget enough only for one saw, a small bench top bandsaw what can accommodate blades as narrow as 1/8" will get you where you need to go.

    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.

  2. 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.

  3. "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".

  4. "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 (without slicing) at 65 grams is super sharp, sharp enough for easy woodcarving. 85 g. is sharp enough for almost any woodworking task."

    I go for 65 grams force. With a properly tuned plane, and a super sharp blade, I can cut ribbons that you can easily read print through.

  5. "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 guarantee that changing the neck or saddle would correct your problems. Go with the simple stuff first!

  6. 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, and bridge height, to get the proper string clearances.

  7. 6 hours ago, violin operator said:

    That makes a lot of sense since the area is so large.  Thank you David!  Interestingly, I've heard about chalk-fitting but never of a soundpost.  Is this because the DG is such a high end violin?


    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.


  8. 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.

  9. 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.