Jerry Pasewicz

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About Jerry Pasewicz

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    Just another guy in an apron.

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    : Raleigh, NC

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  1. Violin Making Schools

    Yes, you will have to. I was asking so I can suggest which of our colleagues are close enough for you to visit and find out what you are getting into. Have a look at this website and plug in your location under “member list”, and then location.
  2. Violin Making Schools

    Where do you live mapfluke?
  3. Fitting New Fingerboards to Old (Not new) Violins

    let's see, Austria is not on this list. Maybe that is why fingerboards seem like "advanced rocket science".
  4. Boston Luthier?

    Wow, great evening activity at the next VSA....
  5. Fitting New Fingerboards to Old (Not new) Violins

    As we all would. But if the answer is making a board that is slightly flared at the nut end from the neck to the playing surface, it does not seem like rocket science to make the appropriate call.
  6. Fitting New Fingerboards to Old (Not new) Violins

    As stated earlier, and for the most part, the body side IS the same as the existing neck, but if the original neck is too small at the nut, we flare that end of the board (from the neck up to the playing surface) to get a reasonable width, it is preferable to a neck graft with NO down side. Do you still make the board to match if the nut end would be too small?
  7. Fitting New Fingerboards to Old (Not new) Violins

    As David stated. We make our fingerboards 24/24.5, 32, 42 so there is scoop to the sides.
  8. Fitting New Fingerboards to Old (Not new) Violins

    No, not only is it not the tradition I come from, but it never made much sense to me. Why make the part of the fingerboard thinner that is not supported by the neck?
  9. Neck Overstand

    Yes, but if you take that piece of wood, double the height, you will have more pressure on the top at the same A-440. An A-440 will have the same note at the same length and the same tightness, but that does not mean where the string is stopped will not have downward pressure.
  10. Neck Overstand

    Yes. Say you have a guitar and a string is tuned to Ax440. Now you put a piece of wood right next to the sound hole underneath the string and tune it to A-440 again. One has pressure pushing down on the top, one does not.
  11. Neck Overstand

    Indeed, I do not know if the Scarampella set up was beneficial or not, it is the control I seek. I have posted before the way we set necks and how we will shim up the centering bridge to compensate for distortion and twist in an instrument to get the neck on center. Cellos are the worst for this distortion (not including basses because no one includes basses), and older Italians can sometimes be quite comical. I have only ever had one cello neck set where the top needed NO shimming one way or the other as the arch was essentially identical one side to the other and had no discernible distortion. Imagine if we could construct this kind of arching, and be able to make bassbars, and neck sets to keep instruments this pristine consistently. It was a David Tecchler for those keeping score.
  12. Neck Overstand

    Jim, I do not know if it is indeed an appui is too high, but it is an interesting idea. I think we could learn a lot from mastering the creation of arches, and setting necks in such a way that there never is any added force to the top from string tension; Not that it is the goal, but imagine having that kind of control.
  13. Opinions on this bow?

    All the way forward.
  14. Neck Overstand

    Agreed Nate, nice insight. I guess that is the purpose of the question; controlling the equilibrium.
  15. Neck Overstand

    Thank you Don.