Posts posted by Mat Roop
I have a 1986 "Made in Western Germany" Gleasel shop 14" viola on hand and the ribs measure 37mm in the lower bouts and 36mm in the upper bouts.
10 hours ago, Michael Darnton said:
We've been wondering the same question lately and I've been thinking of splitting a normal tailpiece and putting a shim down the middle to make it wider just to see what would happen. I have a feeling I'd like the results but there's only one way to know. . .
Love to hear your results! Good luck!... Mat
13 hours ago, Blank face said:
33 mm bridge string spacing is IMO for 3/4 violins. I've always used 36mm for wide and 34.5 as narrow spacing for 4/4. I'm also not a big fan of integrated finetuner tailpieces, but the Infeld system worked for me (or students) more stable and long time reliable than Wittner. One can also replace the wire tailgut with a synthetic, needs a bit widening of the holes sometimes..
perhaps some clarification... depends on how you measure... straight across or "over the hump" ... makes a difference! I measure straight across.
I see these tailpieces on many old violins but really am not a fan. The strings spacing at the tailpiece is 33mm.The normal bridge spacing of strings is 33mm. So what happens is that the strings continue parallel behind the bridge which to me looks odd. The Wittner and other tailpieces otoh, that I am familiar with, have the string spacing at 28mm which means that beyond the bridge the strings converge , and that looks normal to me.
Question is.... is there a tonal impact on the wider string spacing at the tailpiece?
just so you know, a 7/8 violin is also known as a "ladies" violin... ie the permanent choice for the "petite" ladies. Is usually paired with a 7/8 size bow.
Hoping you can use up your birds eye!
In case anyone is interested... I tested vinegar and acetone on bits of the old glue, and acetone for sure was more effective.
The next issue was that acetone is very fluid, is a paint stripper and how to keep it off the nearby varnish. I cut a doubled paper towel exactly ( well, almost) to the shape of the surface with the old glue. Keeping that surface horizontal, and with a small pipette I carefully dropped acetone on the paper towel one drop at a time, to the point that it would not run. Now, acetone is highly evaporative liquid so, about every minute or more I dropped another drop of acetone onto the paper towel. After 15 minutes, the old glue became rubbery soft and then I cleaned the wood grain with a brass brush, then a needle point along each grain line, finally washed it with an ammonia solution and let dry... looked very clean. Glueing up tonight ... stringing up tomorrow...we'll see.
Btw... not a bit of the varnish was affected by the acetone
Thanks Mark... So how does one make an acetone gel?
I know that the DeGlue Goo is a water based starch gel.. would acetone work the same way in water based starch?
So now just thinking... Instead of using de glue goo for usual hide glue, I cut paper towel into shapes or strips to suit, then with an eye dropper, I drop water onto the p towel just enough so that it soaks but does not run or drip. .. so my guess ... would that work with straight acetone?
Thanks everyone... greatly appreciated... activates my brain!
Hot air gun is something I use regularly( on student grade equipment) but I control the heat very carefully with a probe type of thermometer precisely at the at the point of heating... I have found 250 deg F is the absolute max and generally does no damage... I control the heat by moving the gun further or closer to the point of application and using a sweeping motion if necessary
Thanks Michael... I have one of these... might just work...
I'll also maybe try a hot air gun for stripping paint.
just fyi... here is the response to my inquiry to Henkel (LePages)
We do not have a way to determine the type of glue that has been previously used. Our Carpenter's Glue can be removed mechanically once cured. Rubbing with hot soapy water or steaming will aid removal. Paint strippers will also remove dried glue.
thanks everyone... I appreciate the comments.
I am also wondering about the acetone option... maybe use it very judiciously on the heated surface and then touch up any damage?
I'll certainly test the little bit of dried glue with both vinegar and acetone & see what happens.
23 hours ago, Michael Richwine said:
FWIW, I make up spiral bushing stock out of Kraft paper in quantity in advance. I used my drafting training to draw a template that would make strips to roll up into the right size cones. Then a washable plastic workboard and a waxed mandrel and form. Once the bushing stock is rolled tight, compressed and dried, it can be trimmed like an oversized peg, cut to length and glued firmly in place with minimal end trimming (you have to allow for slippage, but you learn quick).
Not high-end work, but quick, neat, strong, easy to touch-up, and I've never had to eat one.
That approach might not let me make bushings big enough for those holes, though. I'd have to measure.....
Agree 99%!... my only exception is that I use Mura Koban 40 g Kozo paper ( Paper Mulberry). It has high tensile strength in one direction, and when that direction is placed circumferencially around the peg, it makes a very strong bushing. Winding it counter-clockwise (looking from peg head) it is very workable and reamable and I have never had one release or become a problem in any way. I pre-make a variety of sizes so that I have them on hand when needed. Also, when I install, I pre fit so that the end of the bushing is flush on the inside of the peg box... That way all the trimming is done on the outside.
If the hole needs to be repositioned, I like the idea of a combination spiral and regular, with the spiral to the outside.
Cheers! ... Mat
I have a violin with a split peg box that would normally be ok to reglue with proper fit and clamping... problem is it has been previously glued, promptly fell apart, but now, the glue type is unknown ( not hide glue)...
1-Is there a way to identify the type of glue used from a piece of the old dried glue?
2-If it was a carpenters type of glue or Titebond, what is the best way to remove the dried residue. I am concerned with using vinegar as that can deteriorate the wood, and acetone will damage the varnish
3- If I use high temperature, at what point will the dried glue soften?
4- Any suggestions?... other than the "dustbin" solution.
Many thanks... Mat Roop
On 12/11/2022 at 6:37 PM, Brad Dorsey said:
.....I suspect that any knowledgeable person here would say that the valuer of this violin is so low that it is not worth trying to make it playable; it only has value as a sentimental wall decoration or as firewood.
Sorry Brad, but I fully disagree. The sentimentality of a dear grandfather is not a monetary issue. Made playable with student quality strings for a starter student or kitchen party fiddler would be rather inexpensive (in fact it might be playable as is) and could be the nudge that starts the OP on a musical Journey that he can also pass on to his heirs. Neither would I hang it as a wall decoration.... but at least I would hang it as a wall decoration In a playable condition, someone sooner or later will surely see It, and play it... and that just might be the beginnings of a wonderful journey.
I would move the post so that it is equidistant from the centerline of the body as the Bass bar.
Verify also: 1-that the top center seam is in fact the centerline of the instrument. 2- that the endpin is in line with the centerline of the instrument. 3- that the centerline of the fingerboard points exactly at the end pin. 4- That the projection of the fingerboard produces a bridge height ( center top of instrument to top of bridge) of 32mm +/_ 1mm but no more that +/_ 2mm.
1,2& 3 are interrelated and if one is off then that will take some consideration.
Have fun!... Mat
Yes, I do agree with both of you, but where there is significant family sentimental value I usually end up surrendering.
I think I can deal with the cracks in a long and painful process.
It's the linings, or lack thereof, that I am tempted to leave as is, but if a few extra hours will prevent a failed project, then I'd rather do that..... but not if it really is not necesssary.
Looking for thoughts & ideas!
So I have been asked to repair this highly sentimental dog with a lions head and bring it to playability. It has significant cracks in the top,
but my real question is ... what about the lack of linings in most areas... what impact do linings have on tone and if I just glue it back togetherafter crack repairs, what are the chances of it holding? The linings that are there are rather small about 3mmX 1mm
Thanks Y'all! ...great thoughts to digest! ... cheers, Mat
I have heard of wetting the bottom of fitted bridges to soften the wood and create a better fit.....
... and so the question is ... what is the general concensus of wetting the ends of a sound post before inserting after final ajustments??
Do pros do that? ... I have always done mine dry.
Could this possibly create a softness that could create a slight indent in the top... and that would cause difficulty if future ajustments were needed?
Thoughts?? ... Thanks! Mat
In a previous thread https://maestronet.com/forum/index.php?/topic/354777-violin-bow-trial/
Andrew Victor said " If you can feel vibrations in the stick while playing, you have a pretty good idea that the string vibrations are not adequately damped in the bow."
So, what are the qualities of a good bow that enhances the damping of string vibrations?
Can someone explain the physics principles of how the bow does the damping?
Yes, and I recall having accepted a multi crack cello for repair only to be faced with an irate client saying that the cello does not sound as good as before the repair. same with a beat up and battered accoustic bass.
does not seem to be as evident with a violin.
re the scratches... Just clean the violin and then give it what I call a varnish rub.. ie section at a time, rub the violin ( using your finger), with fresh OIL BASED violin varnish of matching color and then IMMEDIATELY wipe it ALL off. That leaves a microfilm of varnish that seals the open wood, helps blend the scars, and leaves it with good character.
The only thing you ever remove is DIRT!
Hand jointing more tips please
in The Pegbox
Don, so when you size longitudinal grain, what dilution rate do you use for the hide glue... assuming you are using about a 195 bloom strength? I was always leery of sizing longitudinal grain thinking I would end up with a too thick glue layer.