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Posts posted by PASEWICZ

  1. I recall reading or maybe hearing in a bow nerd conversation at some point that the metal used in these tongue re-enforcements was not aluminum, which is what it looks like and what I always assumed it was. Does anyone have any information on this?  Maybe the Retford book which is always the being hidden from me by the same people that come in at night and make the touchup more red......

  2. That is a Hill tortoise frog, right down to the pernambuco slide liner.  It is also in beautiful shape and even the last rehair date of 1974 seems plausible. I do not see any damage to the tongue or evidence of repair, but I am on a small screen..  I do not know why you were hoping it was plastic, but I am sure that for what this is worth you could buy hundreds. 


  3. Thank you Mr, Dorsey.

    Another benefit of using the turning stick is the control it allows you in the lateral tension of the hair.  Ultimately, hairing with a slightly higher tension on the playing side Is best achieved by each successive hair across the ribbon to be ever so slightly shorter than the hair right before it......this gives a ribbon a sense of stability to the player.....the turning stick works very well to achieve this by simply angling it slightly when turning the hair.

  4. 1 minute ago, Nick Allen said:

    Do you know of any guys who just wrap the hair around their thumb/finger, j stead of a turning stick?

    I know of many different iterations and attempts to compensate for the block, thumb wrapping I have never seen.

  5. 20 minutes ago, The Violin Beautiful said:

    It certainly seems that way to me. I was quite surprised when I was talking to a bow maker who said the turning stick was unnecessary. Every top level rehairer I know uses one. 

    There are many bow makers that do as many hairings as they make bows....this does not allow for much  familiarity or practice in something that is so technique dependent.  To quote someone familiar with he field, “watching some of them put in hair is like watching hand to hand combat”......

  6. One thing to remember about water on bow hair is it has No long term effect.  What I mean by that is the purpose of the water is to take advantage of the surface tension it  brings to the ribbon....allowing for the accurate length of individual hairs.  If one tries to use water drying,  or flaming to make up for deficiencies, it will not work as the hair will expand to the original state after stress (playing).  It is a bad idea to expose water to heads, or mortises, or frogs, or sticks, or tips, or just about any part of the bow other than the hair.  Use enough to give you the surface tension while being able to keep it away from other parts, and learn to tie your hair using an accurate turning method....if you do not turn the hair before tying the knot to simulate the turning of the hair around the final block, you will never be able to do a good rehair.

  7. 4 minutes ago, rudall said:

    I just can’t help but think that a customs inspector would simply think that someone had for some reason put an ultraviolet marker on a tortoise shell frog. 

    Perhaps if the marker said ‘This is not tortoise shell’?

    There are always going to be people that have beliefs that are contradicted by available evidence.

  8. 5 minutes ago, Dwight Brown said:

    Do you find that there is quite a different esthetic for both new and restored bows vs. instruments?

    New bows are generally finished in a flawless perfect finish. I have never seen a brand new bow finished with an antiqued finish. ( I haven’t seen everything!)

    New instruments with more or less antiqued finishes are pretty much normal or one of a range of normal finishes.



    Yes, that is a good point.  But on the other side of the ledger, tiny cracks on bows make dramatic differences in value as you know.  I do not know any single crack on a violin that would devalue by 75%.

    Bill Salchow used to lament the fact that to be considered a good bow maker one had to be able to shave with the frog.......(paraphrasing with added flair).

  9. 58 minutes ago, David Burgess said:

    Nice response, Jerry.

    I believe there are some who furnish substandard repair quality, relying on the excuse that they don't want to be deceptive.

    And there are some who are able to make repairs disappear on the outside, but don't try to hide it on the inside of the instrument. And there are some who are really good at making a highly repaired instrument look superficially like it has never been messed with, both on the inside and outside.

    Thoughts on which is better, and why?

    I must admit it is really tempting to make things disappear all over the place and see if you can get it past colleagues.....that is fun once, right up until the colleague gets word they were sandbagged.  I think now mostly hiding things in plain sight is the way to go.  Siegfried had a way of carving the throat on a frog so everyone could see it was not original....using silver solder on gold, or I always thought micro stamping would be neat as well on say the end of ferrules.  Mostly I think UV markers are the way to go.....when some Inspector at the airport shines his little UV flashlight on a tortoise shell frog and it glows bright purple with a Triangle Strings logo, he will come to the realization that it is not real tortoise.  At some point it is a matter of intent don’t you think?

  10. 54 minutes ago, jezzupe said:

    But of course being a bow, this leads into the ethics of a completely invisible repair and is it the "Right" thing to do as far as some poor unsuspecting person of the future buying a bow they thought had no damage that was damaged.

    I'm personally ok with invisible repairs on bows that would not be considered at the time to be historic or of a high value from a well known maker.

    And even if a frog could be considered a "transient piece" of a bow,when you get into well known high dollar bows , suddenly they are not 

    After much consideration and consultation, we have decided not to dumb down the quality or integrity of our work based on the lowest common denominator of ethics in the field.  I have a problem with the concept that doing sub-optimal work is ever the "Right" thing to do.  I understand your point, but there are ways to mark your work without have to sacrifice your standards.

  11. 20 hours ago, Andreas Preuss said:

    Looking through piles of old ebony fingerboards and other ebony pieces I realized that finding a perfect match is indeed pretty difficult.

    To make no mistake I first cleaned the frog and polished it with fine micro mesh. Then i polished a small portion of seemingly good matching pieces. 

    There are many different hues of black. Blueish black, brownish black, grayish bkack etc. The type I was looking for had a blueish hue. 

    However, when I found an almost matching piece I saw that the pore structure wouldn't match. 

    With further search I got a piece with finer pores but color was a sort of suboptimal, somehow not dark enough. 

    Finally I decided to select rather by pore structure than color  At the same time I wondered if the blueish hue didn't come from wear .

    Before glueing the piece I tried to find the best orientation to have a similar pore structure .

    Wondering if someone here has a better recipe to match ebony replacement wood in a frog restoration? 

    No better recipe...unfortunately it is not like violin work where you can play with color, opacity, and gloss afterward; you are naked and if you do not get a match it will always be seen.....the good news is, if you get a match those last few hours of work are very rewarding.....and no one has to see you naked..... Match the medullary rays and you are most of the way there.



  12. 11 hours ago, Rue said:

    My mechanic made me bring my own chair, and wait outside, in a "sheltered" spot, while he exchanged my tires and did an oil change.

    He was adamant about it. No way was he letting me wait inside! And I was the only person there! ^_^

    I didn't realize quite how cold it was, should have brought a sleeping bag...



    5 hours ago, jezzupe said:

    I think that's where the gimp lives? they like boxes, so I hear, of course :rolleyes::lol:

    Looks just like our waiting room...of course our gimp box is more of a dog house..:ph34r:

  13. 28 minutes ago, nathan slobodkin said:

    Pretty difficult to plane an accurate thin tapered wedge which goes to nothing at at least one corner.

    Assuming you are going to reshape and repolish the neck afterward you can glue a shim of the right length but over wide and over thick onto the neck and then plane down until the fingerboard is where you want it before gluing on the board. Much easier to get perfect joints when gluing both shim to neck and board to shim.

    I glue on the shim then finish the end of the shim which will show under the board and close fit spots on the edges of the shim at both ends so I know where to position the board. After the board is glued on the neck and the nut replaced the whole thing can be nicely shaped and polished. This process allows for pitch, tilt and to a lesser extent alignment to be adjusted but is not a quick fix if you are going to do a nice job. I don't do this very often preferring to pull up the neck or even reset the neck if needed but sometimes a shim is the best option.

    I agree, the wedge does have it’s uses especially if the wedge is used to correct faulty poiriette/ neck tilt where a neck reset is not practical.

  14. It is very possible the issue is with the shape of  fingerboard as it relates to the shape of the bridge.  When a fingerboard radius is flattened toward the bridge, intonation problems can be the result.  If it feels like it gets worse closer to the bridge, you have the answer.  It is very common....

  15. 1 hour ago, Andreas Preuss said:

    Sorry to ask, what is 'CA'? (Cyanolite?)


    To my experience cyanolite glues always make a visible line. On a frog where the surface needs to be polished at the end this will always show, no matter what you do. The same for epoxy type glues. 

    Hide glue on the other hand is not resistant against moisture but treating it with formaldehyde makes it water proof. 


    I would concur with the substitution of glutaraldehyde rather than formaldehyde ....it is evidently more effective and it kills you slower.

  16. If you can, see if you can borrow a plane from someone that does good work.  The most discouraging thing I have run into while teaching is people struggling to make bad tools work well and not knowing they are really bad tools.  Some of the commercial tools out there are pretty horrible, and using inappropriate tools like Xacto knives or other such things will destine you for mediocrity if they don’t discourage you completely.  Cut back on other things now and buy good tools....other than education they are the best investment you could make.

    from someone who has been there....

  17. 4 hours ago, Marijan Radaljac said:

    Thank you very much for both articles Jerry. First one helped me a lot years ago when I was restoring tortoise parts on Fabricatore 1796 Neapolitan mandolin. 

    Any idea, suggestion, what what can be used as a substitute, since 301-2 seems to be unavailable (at least it wasn't 2 or 3 years ago when I tried to obtain it - if i am mistaken I would really like to know where to get it). Epoxy that I used worked eventually, but curing took ages (at only one mm of thickness curing of epoxy is quite a problem).

    Starting to work on a similar project, (TS involved), any info is much appreciated. 



    Marijan,  It is nice to hear you are finding the articles useful.  Epoxy technology still makes the 301-2, and as a matter of fact they now sell it in 4 gm? portioned envelopes that are really handy.  We have been researching different epoxies including uv curing types but nothing has been as good as the 301-2.



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