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    bela marina
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    I used to do other stuff, now I just make violins

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  1. How long has it been strung up? I suggest balsa wood shoes, in your case slightly taller soles than "normal" {my normal}
  2. It's more of a dual symmetrical dimensional gradient
  3. It's very bad out there, anything that has any brand recognition is subject to it. VanDoren reeds for sax/clarinet had to develop a serial number system in order to thwart it, I would not be surprised if in time the extra pain in the butt process of having to serialize everything becomes the norm.
  4. I just knew someone would
  5. Now that is a subject I like to discuss
  6. Here, I'll start us off with our first disagreement, Well I don't think there will be any contradictions or disagreements at all
  7. Personally I think these are worth salvaging and think that if you don't want to that someone else probably does. The thing that gives me a small clue that regardless of who made it or what it cost, that some of that wear on the fingerboard is "telling us something" that is its a player. Someone at some point used to play it quite a bit it seems which is a potential indicator that it sounded {could sound} good...probably as a "country fiddle" based on all that first position wear
  8. Yep I think it's the better choice , good luck
  9. It seems to be better for plucked instruments but not good to have too much for bowed
  10. Ole Bull Already did that....in 1879, I made my own version, it was ok https://patents.google.com/patent/US217330?oq=Ole+Bull+chin+rest
  11. "Rubber sheets are perfectly elastic" Well according to my Uncle Chuck that's just not the case, they just ain't that perfect, account my cousins and all
  12. I don't know when it was, maybe 10 years ago I had brought up "photo degradation of wood" as the primary reason I thought we get the "Strad effect" in some finer violins, Someone was trying to tell me that the "Swiss Cheese effect" was not something that happened, I then posted some pic showing basically just that, So we know that wood does go through internal structural changes and that I agree that to me, it is the only logical "answer" On top of that I would throw in the laws of statistics being the only other real science that matters, that being the more you build the more likely you are to get better ones and some worse, and out of them all a few real winners. I would also say that thermal processing is the closest to photo degradation that we can get right now. We should all remeber that once the violin body has been set in motion that all "numbers" become "quantum dynamic" and so to measure a plate, or even the body in static states doesn't really tell you much about any energy transference and dispersion except in that one state , all the parameters change by the millisecond as the instrument is actually played, thus changing all parameters in real time. If I tap the plate static I will get "this reading" if I were able to twist the plate without interrupting vibrations and tap it then I would get another reading, when the fibers twist and flap there are microscopic fluctuations in the physical properties at local levels through out the entire instrument, I see no way to get any real valid information because of this fact, it's too quantum
  13. Fwiw, I would not consider this repair a repair where I would expect or want reversibility, unless of course it fails. Problem is with these repairs that it's somewhat not up to you if they work or not, all it takes is a moment of frustration with someone fighting the tuning peg to re-blow out the hole, bushed or not, I would suggest hide, not for reversibility as much as if it ever comes back you will be able to try again easy, with CA, thats generally not the case....And that lightning fast set time is generally a good thing, until it's not, CA is a one shot deal and if for any reason there is a little wobble of something not going right with the mating , you're kinda screwed. If you have not used CA much , I would suggest breaking several piece of small wood to do some practice mating , including some where the piece is still hanging on, split, not cracked in half. this helps give you an idea of what it takes to work it in and your open time, which is pretty nil. The other factor is clean up and protecting the varnish
  14. Only when it's shaped like a whoopie cushion
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