David Hart

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    Bowral, NSW

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  1. G'day fellas, So I have a top with a saddle crack that was repaired at some point with the dreaded PVA. With some careful work I have cleared out the offending substance, but the crack will not come together to be glued... It appears that the crack wandered off the grain and where the end grain was exposed has swelled. While I'm sitting here contemplating this conundrum... have you ever come across a similar situation (Fixing bad repairs)? How would you approach this situation? I'm currently thinking if I carefully take wood off from the area where the end grain is exposed, it might come together. Hope you're all enjoying the hols.
  2. I used the measurement 1.4 for a reason. And yes there is a spot on the bridge where the difference between 1.4 and 1.38 can be heard on an instrument. I don't always use precisely the same measurements when I'm cutting a bridge, but I will always measure everything to .00mm If you are taking bridges down to 4.2 or less at the feet, then taking .02 off anywhere will affect the player.
  3. This might be the long term solution. It doesn't help that the only eyelets you can buy are simply sold as "metric" or "imperial", which doesn't narrow much down. If this bow didn't have an unusual end on the screw (using pernambuco instead of ebony) I would probably just replace the whole assembly. There was a second bow in the case which also seems unusual. Metal tip and small metal pins in the frog for eyes. Unmarked. No metal slide. Workshop marks (XVI) on both bow and frog. Workmanship is rough, but it plays really well. I'm curious about it's maker, but I'd like to know if anyone knows who was putting metal pins for eyes.
  4. 1.4mm and 1.38mm are impossible to distinguish by eye.
  5. Hi Mark, I did measure the thread but so far that hasn't proven to be a useful exercise.
  6. Could be right Jackson. Could also be that the burr wasn't worked off. Basically I'd treat it like a blunted knife and start sharpening again.
  7. Hi Adrian, just a tip, at 1500 grit you should be able to get it to cut hairs. It sounds to me like you might not have apexed the cutting angle. Work one side till you get a burr then work the other. If your unsure make a bigger burr. Practice is about the only thing that will get that angle straight.
  8. Hey fellas, It's been a (very!) long time! Very sorry i missed the opportunity to meet my favorite violin maker in Australia last week, maybe one day I'll meet the legendary sawzall fiddler. I trust much hillarity was had over the week! I have a french bow being restored atm and the eyelet is well and truly busted (along with the slide which was warped and had paper stuffed underneath for some reason)。 Unfortunately the thread is neither metric nor imperial, which is the only two eyelets I have. The bow itself isn't ridiculously old so I'm guessing the thread may be what I've found referred to as 'french’, but I'm wondering if anyone has an idea either where I can find this type of eyelet or an alternative solution that doesn't involve an entirely new screw.
  9. Being able to play as a maker is a double-edged sword. You have the experience to be able to relate to what a client says more intimately, perhaps even being better able to understand HOW the instrument responds to differences in set-up etc, however there is then a danger that the maker will think he/she knows better than the client, and dismiss their criticisms. On th other hand, it is amazing what can be achieved by a person who does not play, and 'simply' learns the craft to a high degree. In this field consistency is key, and that I think is something makers who don't play are more likely to have over those that do. "find that the ability to play makes many parts of fixing violins easier (as well as more fun) because I can not only quickly test what I did, but also do iterative "cut and try" setup adjustments on bridges, etc" As a player, I agree.
  10. I got the Vision Titanium Orchestra to try, had to get from overseas. They were supposed to go on one of mine but ended up on a customer's violin. Nobody here stocks them preferring rather to go with the solo's, on assumption they must be identical. But they are not. The Orchestra version will definitely not stick out like a sore thum in an orchestra (surprised?). The particular set I had took a lot of stretching in over a couple of days. I won't know if this is normal until I try a few, but it certainly needs keeping an eye on. After it stretched in, it seemed to remain stable as you'd expect from Thomastic. However, I did notice that after taking them down (to adjust the bridge) that they then seemed to require stretching in all over again, perhaps not quite as dramatic as the first time. The overall impression was that they were quite responsive - about the same as PI - but on first impression seem quite boomy. I'll be seeing this instrument again in a few weeks so will be interested to see how they play in.
  11. You could always make me one and I'll sell it back to you! Seriously though, what a nice problem to have!
  12. Unless a person has a physical impairment preventing them from playing the violin the correct way round, there is no argumument for switching the entire set-up over. Especially not being left-handed. Being left-handed has many benefits in playing the conventional way, mainly greater control in the fingering, vibrato etc. On the flip-side, more effort must be placed in controlling the bow arm. Neither left or right-handedness has any obvious benefits outweighing the other, the violin being an ambidextrous instrument. "I went down to the car-dealership and asked if they could switch the steering wheel over to the other side, because I'm 'left-handed'." - Nobody said, ever.
  13. To actually attempt to answer your question now.. The truth is when dealing with contemporary makers they are going to be selling their instruments for what they think they can sell it for. Priced too high and they won't get a sale, priced too low and they won't make enough to make it a worthwhile endeavour. Depending on makers knowledge and experience, their market exposure etc different makers will be able to (or have to) put different prices on their instruments. You can be a complete noob and still ask 25k euro if you can put a 'made in Cremona, Italy' label inside your hastily made vso. On the other hand, some makers pump out violins like a machine, others spend months planning, selecting wood, examining old instruments etc and take much longer ultimately making their instruments. The latter would necessarily have to ask a higher price, to cover the extra time/costs involved in the making of that instrument. What they sound like isn't really relevant in the pricing, but it will surely influence the buying.
  14. ... And then you go to America and you can pick them up for 60 grand...