Mat Roop

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    Wyoming, Ontario

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  1. OK... Thanks for all your thoughts... I get the picture... and I have learned to not get excited about a find, but now more interested in the history of the some of these oddities. Likely more pics will not add to the conversation, but here are a few, for the curious. ... Cheers, Mat Ps... the pics are not great and I must say that in my time of film SLR's and split image focussing I could take much better pictures... these modern electonic cameras ( mine a Pentax K7) have just too many settings and ajustments... and the focus is automatic and never really good.... maybe its just me getting old.
  2. Here are a couple of pics... never seen a bow with a frog so excessively rounded. Can someone please enlighten me as to .. age? school? region? There is no brand on the stick, but there are the frog/stick matching marks. Thks, Mat
  3. For those who have not seen this ... Cheers... Mat
  4. How does one generally identify a carbon fibre bow from a fiberglass bow? At present I have a bow that is essentially black with a grey square pattern... I've never done much with carbon fibre and just a few Glasser fiberglas bows... The Glasser are easy to ID but more expensive ones, I don't have a clue?? Thks... Mat
  5. Speechless... and rare indeed:)...but then, I saw that they offer free dely!
  6. I agree ... a new bar is in order. But with the bar out... I'm inclined to regraduate??? As for re-varnishing... I've done a few many moons ago and never really happy with it...and now am not inclined to do that at all. I would rather clean up, and leave as is ... someone, including myself might like it... depending on how the instrument responds. I might get lucky and be able to remove the top layer leaving the apparently good underneath. Thanks for your thoughts!.... Mat
  7. I'm inclined to think the varnish did it on its own... If it were fire damage there would be signs of soot inside, but all there is, is the usual age and dust. Under the "cooked " varnish there seems to be a solid layer of normal varnish and I'm wondering whether the outer layer of varnish is an original final coat that did not harden properly, or a very soft coat applied at some later time.... no doubt it has a lot of dirt mixed in. Thx... Mat
  8. Hi Folks... I'm just getting to restoring a Ruggeri copy violin that I acquired several years ago. How would you proceed re the bass bar and varnish??? 1- The bass bar is only 4.5 mm thick and 14.5 mm high including the top of 4mm thick at the center beside the bass bar... would you replace or reglue the existing which is unglued in places. 2-The varnish is heavily grained... do you think that the leathery texture is the result of the original varnish with the smooth parts being the ground, or is it a varnish applied at a later date. I like the look of the distinct texture but it is rather exaggerated. ... What would you do (besides using it for firewood:))?? Thanks for your thoughts! ... Mat
  9. 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
  10. 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
  11. 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
  12. 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
  13. 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
  14. Super helpful... all making sense ... thanks for all your replies!... Mat
  15. Any comment on the fact that the stamp is upside down??... or is that a common variable?