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Mat Roop

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Everything posted by Mat Roop

  1. Last time I bought they were about $4 or $5 per marker
  2. Mat Roop


    I have recently been in the habit of removing the string protector, but instead of placing a skin under the e... I dab a bit of thin super glue to harden the slot to prevent it from collapsing under the string.... seems to work well. Anybody else do that? any negative side effects?
  3. Thanks everyone... looks like dry brown chalk dust is where I'm headed! I have some black chalk dust I use for slippy ebony pegs, works pretty good on the bass bar, but it is just a bit gray, So I'll get some dark brown chalk & try that. ....Cheers, Mat
  4. check my link above... there must be 50 or 60 color variations... more than you'll ever need:)
  5. So Strad O, when you put a new bass bar in an old violin with a dark interior you leave the new white bass bar white? I've done that many times, but because you can easily see the bar at the f hole, to me it sticks out like a sore thumb. But... if that is considered good practice, I'm all in!
  6. Thanks B. ... Yes, on a separate piece of wood its easy to stain and get results, but in reality the problem is that the bar or cleat is carved after installation and one needs to be careful to not stain the original aged wood, otherwise it really looks like c.... ... so just wondering what do others do?
  7. So when you do internal violin repairs like bass bars, cleats on old darkened violins, do you darken the new repair wood, and what is the best solution? tea bags? dirt? chalk dust? water colors? I've never really been happy with anything I've tried. Suggestions?... Thanks, Mat
  8. I use these regularly...keeping in mind I do mostly violins for schools and the kitchen party types... so not exactly high end. https://www.richelieu.com/ca/en/category/abrasive-and-finishing-products/mohawk-finishing-touch-up/touch-ups-and-wood-fillers/touch-up-markers/promark-touch-up-markers/1018930 There is a learning curve to use them effectively. I have about 10 color variations and often blend them in layers and rubs to get to where I need to be. Applying one color on top of another will also dissolve the first color... and can make a mess... so there are tricks. It helps to have a sample board of maple and spruce with each color applied and that is a good start to matching the color you need. I seal anything bare first with clear varnish or shellac, then apply marker in one or several THIN coats .. When done, seal with a clear varnish rub. Can't say I have ever seen a fading issue... Cheers, Mat
  9. This stuff (the wood version) works great... shape it, carve it, sand it, stain it and finish it! ... key is to rub the uncured material onto the surface to be glued so that the roughly shaped uncured replacement piece sticks well. https://www.brodi.com/brofix-epoxy-putty-repair-stick
  10. 1- remove the wedge & do a neck lift... https://trianglestrings.com/raisingtheprojection/ 2-the scratched cross... Although I don't do it for many reasons, It is my understanding that making a pin prick in the varnish to mark the bridge is acceptable in some circles. Are you sure the cross was not there before and you just did not notice it?
  11. maybe you can suck the alcohol out using a closed vacuum system... no heat to set off a "splosion"
  12. Depends on your definition of "worth" and "restoration". A simple rehair for $60 will make it playable then you can test it for performance and go from there. I am not into attributions, but my guess is it is a basic mass produced bow. ....check the dimensions... maybe it's a viola bow? Looks like the bore for the screw is worn. Cheers... Mat
  13. Individual hairs in a hank are not the same diameter... therefore a hank of thin hair requires many more hairs than a hank of thick hairs.... so counting hairs is futile.
  14. Well... I would try to convince ( this always works!) the bow's owner to fit a new plate and rehair the bow... my cost would be in the order of $110... but... I would do whatever the customer wants, and document the consequences (if any)... its their bow, and their money.
  15. I leave mine on as long as I am working with glue.. and it holds the temp right on. Mind you I installed a thermometer thru the lid into the water so that I can keep an eye on the temperature just by looking... otherwise you would have to proactively take temp readings. Cheers, Mat
  16. I just use a simple hot pot and set my glue pot into the water... works great. Had to adjust the T-stat though ...to lower the temp range. https://www.walmart.ca/en/ip/multipot-multi-cooker-125-lqt-mp2013-red-black/6000201461570?utm_medium=paid_search&utm_source=google&utm_campaign=always_on&cmpid=SEM_CA_71_S0MY02HA7C_71700000053641827_58700005332107831&utm_id=SEM_CA_71_S0MY02HA7C_71700000053641827_58700005332107831&gclsrc=aw.ds&&gclid=Cj0KCQjwktKFBhCkARIsAJeDT0iv4mIeaZBvVivQM_f7K49IN7yR0EI2fIyVg60urzgrEora2WmefQEaAnlSEALw_wcB&gclsrc=aw.ds
  17. David, with your experimentation...have you drawn any general tonal/ playability conclusions from changing the saddle height? Thanks for sharing!... Mat
  18. First things first... have the violin properly set up ....by a professional. There are likely easy solutions to your problem. After all else fails then maybe look at "doohickeys" ... Mat
  19. Thanks Mark... appreciate your thoughts! I like the wood filler idea... do you use that to make a pattern & mold then carve the ebony to match, or trim, stain & leave the filler permanently? Thanks!... Mat
  20. Just thinking about something I've never consciously thought about... When you fit a chinrest... 1-do you ajust the angle of the base of the CR to match the edge scoop of the instrument? or do you just rely on the cork liner to compensate? 2-do you ajust the angle of the clamp? .. ie the part that fits into the chinrest.. should it match the angle of the scoop where the chinrest sits? 3- then of course is the issue of the angle of the hole for the clamp There are many opinions as to whether chin rests improve or impair the sound quality of the instrument & does the fit affect that? Cheers, Mat
  21. I have never bought violins or bows on line... but... I do visit antique shops... and never pay the asking...amazingly every now and then there is a deal. Travelling in PEI I bargained a $10 bow down to $7... I did not have my spectacles with me it was dark in the shop and when I got outside.... A nice Tourte copy with silver fittings... sold it for $700 after a cleanup and rehair. In Florida I picked up a John Juzek viola for $75 ....well used and abused... Restored it and 3 years later sold it for $1100. It's like panning for gold... only more comfortable
  22. Just feel bad my posting info about Optima is in the thread celebrating Dominant's 50th b'day
  23. Hey Diddle Diddle.... love that Fiddle book! The H-A was my first book about fiddles and loved the read. Sure, it is way outdated, but I did not know that then, and it did inspire me to keep digging deeper.... Been a lot of fun over the years!
  24. so for the Optima Lenzner e-strings, I posed the question of why steel vs premium steel vs brassed vs gold directly to Optima..their answer... For good to excellent players the best option is the 24K Gold strings since the strings are a bit heavier, but the sound is warm and clear at the same time. Gold coated strings don’t rust and dirt doesn’t stick to them which make them very durable. The Steel option carries the most traditional sound and its been produced the same way for over 100 years, so if a player wants a traditional sounding string then Steel is the option. They tend to get dark spots with time and usage, which is a normal thing. Premium Steel keeps the quality of traditional Steel strings but it carries a clear sounding resonance. The Brassed strings have a very thin coat of brass over Steel which curiously enough makes it sound richer than the traditional Steel and Premium Steel. The brass color changes to black with use and some people don’t like that, but they’re extremely popular in Japan for example. All varieties com in gauges .024-.028 and in all different lengths, so they can be set onto violins ranging between 4/4 to 1/16 scales. FYI... Cheers, Mat
  25. Thanks Rue... got quite the chuckle out of your choice of words...your conclusion is spot on! ....it had to be made prior to when you got it... otherwise you could not have gotten it! ... tee hee!
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