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Mat Roop

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Everything posted by Mat Roop

  1. Do you think the epoxy "perfect" fit would make a sufficiently significant tonal improvement? Would the epoxy itself have a tonal effect? Also, what happens when the perfect fit is compromised by the slightest shift of the bridge once it is in use and handled and played? Maybe a less than absolute perfect fit might be preferable in the long run?
  2. Thanks David... what tends to happen is that where the bridge pinches the carbon paper against the top, the carbon transfer is darker than where it is transferred by tension only. Like any tool, it takes some practice to get it to work to ones own style and need. Thanks Fjodor for your affirmation! Cheers!... Mat
  3. My issue has always been that holding the bridge at the ABSOLUTE EXACT tilt as well as placement side to side and front to back ( simultaneously) after every cut was very time consuming and with my less than "surgeon steady" hands I was never "dead on" in all respects. A a solution I developed this device that tends to avoid the problems of the roller jig....and my aging eyes and hands. https://www.violins.ca/info/violin_bridge_fitting_tool.html Looking for honest critical comments ... in the quest for perfection .. Thanks... Mat
  4. Ok... dumb question... a powered jointer has two tables adjustable to match the thickness of the cut, otherwise the joint will not be straight ... . Why is it then that there are no hand planes with two adjustable soles.... would that not produce a better straighter edge?
  5. PVA glues were developed in the 1950's. It would be a real shame if our heirs a few hundred years hence, find that the pva glues deteriorate slowly and that these lovingly and meticulously repaired and hand made instruments, made with PVA glues, begin to fall apart and lose all significant value. ... and for what... a bit of convenience today? Hide glue is easy, hide glue works, hide glue lasts, hide glue is proven... I'm sticking to hide glue. Cheers... Mat
  6. my guess is that the back is of relatively high density wood, making it more conducive for producing higher frequency vibrations... hence the soundpost under the treble side of the bridge will transmit the treble vibrations to the back. Conversely, the top is of lower density conducive to producing lower frequency vibrations and so the bass side of the bridge needs to transmit the bass frequencies to the top via the bass bar, and not to the back.... my 2 simplistic cents:)
  7. Andrew... you missed the rest of the saying... "measure twice, cut once, and hammer to fit".
  8. MaryS... first rule of restoration is replace what is missing and remove nothing of the original that exists... ie.. carve a piece to replace the missing wood in the screw hole ... trying to match the grain of the original. Not easy, but you will be delighted with the results if you take the time! good luck! Mat
  9. Mea culpa... Did I forget to say "a bow stamped Tourte"
  10. Could you consider that regraduation is the process of finishing work that was left in an unfinished state.... sort of like buying a house with a nice exterior and main living quarters but with an unfinished basement ... and then finishing the basement to complete the job. Also, not much different than the markie method of a violin having been built by multiple makers doing different parts... regraduation is simply another part with another contractor doing another part of the project, just maybe a century or two apart. Don't get me wrong... I get the issue of regraduation, but for vso's why is it a sin to make a vso playable for beginners and kitchen party types? ... they seem to appreciate it!
  11. I use Lepage Pro Carpenters glue... works for all
  12. Geo Heinl & Co is the place to go.... they are top notch! https://www.georgeheinl.com
  13. Mary... listen to Jacob... Remove the top, the neck and repair every component thoroughly... I have done many of these and if you take shortcuts or take the easy route ( which ends up not any easier) you will be sorry. Remove top ( learn how), re graduate, fit new bass bar, remove & reset neck, check blocks etc. Learn how to align neck for direction and height, Fit new new ebony fingerboard, nut , post, bridge, new ebony pegs. and learn how to clean and restore the finish ( not refinish!!) Each of these tasks are not necessarily easy or quick but are a great learning experience and you will end up with a violin you will be proud of, will likely sound decent and you will want to save as keepsake. Avoid the concept of "good enough"! ... because every less than perfect step leads to further problems down the road. We are all here to guide you with each specific step if you wish... just ask... Good luck, Mat
  14. My guess ... needs new bridge, strings, post, and a nut ajustment... ie a basic set up.. Assuming 1-the fingerboard projection is directly pointing to the end pin and the elevation is correct, and 2- there are no loose seams that need to be reglued, This should be an easy and inexpensive project. Check out https://darntonhersh.com if they are too busy they would be able to make a recommendation. Cheers, Mat
  15. Agreed!... short story... I have a violin client, whose violin I have maintained for many years. He absolutely loved his fibre bow and never wanted to even try anything else. Finally, After a small violin repair for him, I had on hand a nice Tourte bow, pernambuco with silver fittings, rehaired with premium siberian horse hair, and I asked him for a favour to just try it, no obligation and that I would appreciate his evaluative comments as a few who had tried it really liked it, and in my case I am not a good player, so getting a players perspective is of significant help for me. He agreed and that night he called saying I was not going to get the bow back! Synthetics are great for students... but you can't beat high quality natural materials. But..... if you feel Arcus is the desired result, then find a reputable supplier, buy all 3 versions, have your Mother test drive them all and return the rejects for a full refund. A good supplier should not have a problem with that arrangement. If that does not work, check the info on their web and then contact Arcus directly and they should be able to answer questions and define some of the differences intended with the various models. https://www.arcus-muesing.de/en/products/cellobows.html Cheers, Mat
  16. good test JL......but it is my understanding that the generally accepted dissolution rate is 2 parts water to 1 part glue by weight.... yours was 1:1 ...might that have produced a different result?
  17. Reasonable... although if I ran across it i would offer $50 maybe $75 ... and that is in Canadian $'s... Good luck!... Mat
  18. Thanks, Vda... makes full sense... Mat
  19. Vda... can you elaborate a bit... which type of situation for wood fillings with hide glue and which with varnish? Thanks!... Mat
  20. Ha... yes but Maestronet has Jacob to set us straight! I get the squarish shoulders look ... just could not relate that to the word "angular" Thanks Y'all!
  21. I recently read a description of an identifiable feature of Hopf violins ..." its slightly "angular" upper bout" What is meant by "angular"? ... is that the slight reduction of rib height from the upper blocks to the neck? If so, is that peculiar to Hopf, primarily? Cheers, Mat
  22. If the reason for a bad sounding strad were/could be determined, and subsequent successful modifications were made, would that be ... 1-unethical and 2- would that increase or decrease the value of the instrument?
  23. ... and before buying the violin you think you want... make sure you have the option of trying it out at home for at least a week! ... either on a full refund guarantee or on loan first.
  24. I used it to glue a fingerboard on a family violin 30 years ago, ... it sat in a case in my basement shop for a month ... I looked at it before delivering and thank goodness I did, because the fingerboard, with no stress, had completely fallen off and the glue was all sticky. Clean up was easy though!
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