downhere

Members
  • Content Count

    20
  • Joined

  • Last visited

About downhere

  • Rank
    Junior Member
  1. I think the fittings are also a close grained East Indian Rosewood. http://www.gilmerwood.com/instrument_wood-bridge-peg.htm
  2. Pictures of the set of fittings. This violin was bought in Singapore about 10 years ago. The label says Handmade Professional Violin, Cristofori. The company still sells violins, but I don't see the same fittings and bow wood locally. IMG_1758 is from the underside of the bow and shows the variation in colour.
  3. Can anybody identify this wood for me? I bought a violin recently, and was surprised to find that the bow, the tailpiece, the end button and the pegs were all made from this same wood. I just thought that it's interesting to see a bow match the fitting wood so closely. Thanks! Kenneth
  4. Finally got mine set up, 3mm behind the bridge foot, 2mm within the outer edge of the foot. Post fits flush with the top,but the bottom is slightly rounded from setting up the post. Post is vertical. I found this post much easier to adjust than the old post, as this is made of softer spruce than the old one. The old one also looks really dark, really dense, higher ring when tapped, and holds the sharpness of the cut edges much better than my new post. The volume of the violin seems the same, more complex sounding. I wonder if the old post is of better soundpost material than the new one. After all, I bought sound post material from my violin shop for 6 dollars, but I paid 120 dollars to have the old post fitted. Don't notice a difference yet, but would be interesting to hear if there is a difference. The new soft post is easier to wedge tho.. the old one was so hard when you wedge it it tends to skip instead of compress.
  5. What luthiers need to set the soundpost is simply a L shaped plastic hollow tube, with the business end cut with a curve to hold the sound post, a hole drilled in the plastic tube to control the suction, and the other end connected to a shop vac.
  6. With the S-type setter, I think you can feel the orientation of the soundpost, and how it is touching the top and back. Took me a while to get the hang of it, but the post always fell off the setter until i figured out you had to wedge the top and back apart simultaneously with the soundpost. Is there any trick for orientating it in 3d space tho? It looks good from the end pin hole, but i always misjudge the distance behind the bridge that i want.
  7. Casey: I actually shortened my post but kept the angle to move it to the side. Like luthierwannabe said, it's "brighter".. I would describe it as having more complexity/more overtones. I've been looking for brighter strings than evah for the old setup, but they didn't solve the problem, so I'm glad I moved the post. At least now, I have enough brilliance to play with, so I switched back to dominants(more complex sounding) from peter infeldts (purer sounding). I think shortening and lengthening is another variable to play with for us tinkerers. Oded: Yes, I shortened the post to place it where i want it to be with as little tension to fit as possible. Just slight tension to hold it in place. It is a well fit post (not as good as professional, but the angle to the top and back match). I'm just wondering if the "best" sound is a matter of preference.. like there's no "wrong" position, just different places where people like to put their soundposts. The sound changed from a pretty straightforward german student violin type sound, to an overtone rich sound, and I was looking for that change from strings and other things. Just surprised it happened when i decided to shift the soundpost position after it fell. MIchael: Thanks for sharing your tools. Wish I had a set of yours! I just speared the soundpost until i got the job done.
  8. I was reading Casey's post on soundposts, and over the weekend I managed to find some time to peer inside my violin and adjust the soundpost. After setting it up and toppling it down 40 over times, I finally developed the knack for imagining how the post would fit in the violin, as I am positioning it on the soundpost tool. Then I noticed that there's a worn soundpost spot on my violin top much closer to the edges than my existing soundpost could reach. After shaving down my soundpost and fitting it into the old spot, the violin sounds so much richer and brighter. It sounds like a totally different violin almost. I was thinking whether it's a better idea to try soundposts of different lengths, as it will be cheaper than buying a new violin. Is there some advice to the possible changes you can get from soundposts? With the huge change in sound, I wonder if french violins sound "French" and german violins sound "German" because they were set up to sound that way... If I decide to make new soundposts, is it possible to describe common soundpost setups to my luthier?
  9. Thank you for the reply! I just read up on glass temperatures as well. You are definitely the expert at modifying the qualities of plates by adjusting the carbon fiber layup. My idea was that after a plate has been created, the stiffness of the plate could be adjusted via heating above glass temperature and causing epoxy degradation. It could help you experiment with stiffness more easily, or fine-tune plate stiffness, or even create an extremely soft plate from carbon fiber, beyond what any standard epoxy could do. After all, from what I understand, most epoxies are made for strength in construction etc, yet spruce is a pretty soft wood.
  10. A thought that came up today was whether the stiffness of carbon fiber could be adjusted by varying the baking time/baking temperature required to cure the epoxy. That could allow for thicker or thinner violin tops that would keep the same strength (as the stiffness of the material can be controlled by temperature)
  11. Home Water Fireproof Safe box. This would work.. I don't know if they make a size for a violin, and if it comes in below 20lbs, but you can add some padding to it and sell it for few thousand bucks.
  12. Something I read in the book The Art of Violin Making (?)on set up says you can try tuning down half a step, and seeing if it improves. If it does, you can move the bridge towards the fingerboard 1mm, and tune back up to pitch. Repeat until you find a good sound/response. If it doesn't, tune up a half step and move the bridge towards the tailpiece.
  13. I use the cello version of Clarity for violin. It's a bit stickier and pulls a rounder tone from Evahs. Sometimes I mix the violin/viola and cello version (when the cello's too sticky for a quiet piece)