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Everything posted by stringcheese

  1. I think they actually were made with the corners machine cut from the same wood as the ribs, not glued on separately. My mistake.
  2. Jackson-Guldan did make some violins of more conventional construction. I have one in the shop right now labelled Guldan Special. Most of theirs though were made with a one piece rib garland with corners added to the outside of the Garland. And the one I have looks nothing like the OP violin.
  3. This is not a Jackson-Guldan. Yes, they made a lot of (sort of) violins, particularly during WWII when German and similar instruments were not available. Agree with Blank Face, German or Czech, maybe 1930s.
  4. This thing does NOT work. The thickness of the sandpaper changes the curvature of the top as compared to the bottom of the bridge feet. In addition, there are other variables on a specific violin. Learn to do it right. As David said, with a knife.
  5. Question: Which is bigger, a violin or a viola? Answer: They're both the same size, the violinist's head is just bigger.
  6. Last heard David at the Denver Folklore Center in 1970. Learned one of my favorite bad jokes from him. I wish him well!! Maybe I'll see him again.
  7. I have one at the moment dated 1952m serial number 2821. The other number on the end of the label is 7273. No idea what the numbers indicate.
  8. I have not had the misfortune to work on a violin repaired with Titebond. Actually prefer Titebond for resetting guitar necks (tapered dovetails), where the strength of the joint is in the joint itself. If it ever has to be redone, the glue will plasticise at a lower temperature and make removal easier. When I fit a dovetail neck joint, I can string and tune the guitar with no glue in the joint. The it of any joint needs to be accurate regardless of what kind of glue is used. But for violin work, hot hide glue always. You can adjust the strength as needed for different joints.
  9. Let me add my emphatic NO to all of this. The original Titebond, which this ain't, is a good glue for many things, but NOT for violins. I just wouldn't use this at all.
  10. What we tell people is that a label will not authenticate a violin, but a violin MAY authenticate a label.
  11. What you appear to have is a generic nickel mounted German trade bow, probably from the 1920s or 1930s. These can be anything from stuff I wouldn't use for a plant stake to some pretty decent student bows. If the stick is straight and the camber good, it may well be worth rehairing. Couldn't say without looking at it up close. As for replacement bows at the low end, we prefer synthetic bows. The low end wood bows are often made of stuff I wouldn't burn in the wood stove. A decent fiberglass student bow will often work better and cost less. Certainly, once you move up in the bow world, wood is where it's at. In the meantime, I would not recommend buying something cheap online. Go to a decent dealer where you can see what you are getting before you spend the money.
  12. I think I would trust David on this. We have sold stuff from the JTL shop from around $700 to $4000. They made many grades of instruments. Even the more basic models can be useful student violins if they are in good condition and properly set up.
  13. They were there too, but they were missing other parts.
  14. Was once at a gathering with three friends, two instrument makers and a cabinet maker. I was the only one there with ten fingers.
  15. Generic German trade fiddle. late 19th or early 20th century. The pegbox graft may have been done the day it was made.
  16. They were a big family. Had one by Johann III from 1935. Didn't look at all like this one, but that's not surprising given that it's a different maker and time. Violin is long gone but here's a little information that I noted at the time. Johann Furst III, b. 11/6/1896, son of Thomas F. worked with Gustav Groseck for 4 years, established own shop 1922. The person who taught me worked with one of his descendants.
  17. Totally agree with the above. Just had this exact discussion with a guy making a carved mandolin. Basically told him just do it again and the second one will be better. And the third, and the fourth.......
  18. Too bad it's all wrong and doesn't even fit the violin correctly.
  19. Once worked on a guitar that had lived in a barn. Had mud dauber nests in it with live larvae.
  20. The reamers that I have found work best (for me) are those with four cutting edges on one side and the other side blank. I used one for a long time that had cutting edges all the way around, and it would often make the hole polygonal. I have not used the spiral reamers. I am sure others will have more thoughts on this. Care of use is also important with sufficient pressure to keep the reamer aligned but not so much to ear things.t
  21. No, those are waaay better. Honestly it looks like a low end trade violin that wasn't worth much before it was butchered.
  22. Maybe try Chris Germain. Christopher Germain Violins in Philadelphia.
  23. The outer wrap on the G string is often silver, while the wrap on the D may be aluminum or another lighter metal or alloy. Hence the D will need to be of larger diameter to produce the desired tension.
  24. I use the skin (a tiny piece cut from a calfskin banjo head) and remove the little tube. Like Mark, I find that the tube can mess with the sound and the groove.
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