Mat Roop

Members
  • Content Count

    554
  • Joined

  • Last visited

About Mat Roop

  • Rank
    Enthusiast

Contact Methods

  • Website URL
    http://www.rezx.biz
  • ICQ
    0

Profile Information

  • Gender
    Male
  • Location
    Wyoming, Ontario

Recent Profile Visitors

21301 profile views
  1. Thanks for your thoughts...I had clients a couple of times in recent years that had tried increasing the standard spacing, by just moving the outer strings beyond the notch and had said it improved the tone. I made a new bridge to their spacing and centered the inner strings. They were pleased with the results. Perhaps the result was more psychological than real seeing that it was their idea.. OTOH... would the wider spacing give the string more power as a result of increasing the leverage of the string on the bridge relative to the post and bar? Thanks... Mat
  2. Ok... so all those posts and comments re effect of sound post settings in an earlier thread made for great reading and lots of food for thought. Super appreciated! Sooo... here is another question...... what is the effect of increasing or decreasing the string spacing on the bridge? How accurately should that spacing match (or not match) the spacing of the post and bar? Thanks... Mat
  3. And that will change the fit of the top and bottom of the post ... but with basses, the top of the post is slightly rounded, so that allows some tilt. Would that principle not apply to violins... just on a smaller scale? Does anyone fit a violin post with a minimally rounded top? Cheers... Mat
  4. Of course... I agree, meaning that each angled fit needs to be a new post fitted to that angle. .. a lot of work, so if someone has done some testing, then that would be helpful. Trying not to reinvent the wheel. Cheers, Mat
  5. Lots of info on the effects of moving a sound post... but all that is assuming the post is vertical. What happens if just the top or just the bottom of the post is moved... either N, S, E or W?.. assuming of course that the fit is ajusted accordingly Thoughts? Any experimental results/ general consensus?? Cheers, Mat
  6. Super helpful... all making sense ... thanks for all your replies!... Mat
  7. Any comment on the fact that the stamp is upside down??... or is that a common variable?
  8. Thanks Dwight and Martin... for sure the bow is in great shape, but is that because it is new or was just never much used? But I must say that the bow in every aspect, to my eye, looks very high quality and well executed. On the other hand, I note that the bow must have been played a fair bit because the name stamp on the shaft at the frog is worn down exactly at the grip point of the thumb. Thanks for your input!... Cheers, Mat
  9. Is this a significant bow? The wood appears to be pernambucco and fittings appear to be silver. But... The stamp is upside down? Saw a similar one listed for $35,000. Thoughts?... Thanks, Mat
  10. Here are a few pics of a bow stamped ERNST MARTIN.... appears to be of decent quality ... is there anything special to be known about it?
  11. ... just to add my 2 cents worth... 1- I cut the paper into an arc strip .. inner radius of 23cm and outer radius of 26.5 cm ... That compensates for the taper of the peg. 2- I use Japanese mulberry paper... Mura Koban Kozo paper 45 gm weight. 3-I make the bushings without a form and with hide glue... I estimate the length of paper strip that I need to get the thickness of the bushing that I require then tape the end of the paper strip with a small strip of masking tape to a small diameter peg coated with wax. Then laying the paper (with the peg attached) on a slat in my vice, I slop hide glue onto the paper and roll the peg with some pressure against the slat so that the glue is pushed out from between the layers of paper and at the end, I simply roll the peg forward a few times aginst the slat to create a flat finish. Let the bushing dry on the peg and when dry, twist the peg out of the bushing. The wax keeps it from sticking. I make a variety of sizes of bushings so that when I need one, I can just test fit to find one that fits nice & snug as a press fit. Before I glueing, I trim the bushing so that the end on the inside of the peg box is flush with the peg box wall.. then glue it in with hide glue, and now I only need to trim the outside. Cheers... Mat
  12. Thanks Jacob... exactly what I needed!.... Cheers, Mat
  13. Does anyone have or know where I can see a picture of an authentic label of an Anton Bachmann violin? Thx... Mat
  14. 3- apply TLC 4-See # 3 On the other hand, if the instrument sounds like a goose, go ahead and make structural changes... but I would still keep the varnish and add TLC. The marks, dents and scratches all have a story to tell, and even if we don't know the story, we can imagine ... and that adds character... which in my mind is better than clinical sterility. Cheers... Mat
  15. Everyone has the wish and hope to discover the gold mine:) As a curiosity how rare is it that a dealer will significantly under-value an instrument lets say at $500... with a litany of proofs ( to demostrate their proficiency at appraisal), then offer to buy it at that (full) price, when in fact the instrument is really valued at lets say $5000? After all, a violin inheritor would likely have no knowledge of violin appraisal, nor would they have knowledge on how to select a reputable shop for the appraisal. I can recognize good workmanship but for valuations... I send my clients on to others. Cheers... Mat