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Posts posted by welshman

  1. I use Japanese scraper planes, flat bottom with wood bodies, the larger one i use on cello and bass fingerboards or to remove larger amounts of wood, the smaller one is for finish surface prior to sandpaper used with a stiff block.


    larger plane is 170mm x 60mm with a 45mm blade

    small is `100mm x 30mm with a 23mm wide blade


    when the smaller is adjusted just right the camber is right when it stops cutting, then ready for final sandpaper and polishing. i use a leather backed block of wood for sanding block, 150mm long, this cuts the planing marks without following the differences in grain density and planeing chatter 



  2. Ken

    more of a problem in live wood with active moisture in the cells - fungus feeds off the material in the cells, once dry should only be a visual problem, if the wood is really dry and stays that way using it probably not a problem especially for linings.



  3. wood like maple get a variety of fungal stains - one of which is called "purple stain", considered a defect in the wood industry and caused by exposure of the wood to moisture - like stacked under a ton of steel bars,


    might be possible to cut it out or work around it but it is likely to spread upon further exposure to moisture and possibly air.



  4. well the horse hail does have scales which lay overlapping to the tip but I have seen a study that showed that these are rubbed off very quickly with the first rosining and then the rosin crystals are embedded into the softer core of the hair, the article was in either scientific american or smithsonian magazine in the 1980's sometime, wish i made a copy,




  5. currently trying aquila .72 but the idea about beef gut was raised, first conversation with Dan Larson the player had wasn't promising but I have him calling back plus other sources to see if any of the makers have any ideas - its his project at the moment.


    he is waiting on a new shipment of aquila strings to see if the revised knot will work on a new string.


    thanks for the help, let you know results



  6. Hi everyone


    Just spent a frustration hour with a new client and his new five string baroque cello, he had it shipped to him and when attempting to bring it up to pitch (415) the gut e string kept breaking. The first portion of the visit was smoothing possible sharp edges at the tailpiece and devising the right size of the loop tying it to the tailpiece. the string was ok at the nut and pegbox but it was getting shorter by the attempt. so much so that I ended up having to tie a extension to it to get enough length to wind around the peg shaft.


    finally was able to bring up to pitch for a sound check for the soundpost position but just as he did a final tuning for stretch the string exploded right in the middle of the string - no sharp edges involved just a weak point in the string. since he was down to last string at that point it brought the session to a halt until new ones arrive - at least we determined the right knot and loop to use and then got down to finding out the root cause of the issue - size of the cello.


    the owner had ordered a copy of the big Strad model (body length of 790mm) assuming the big body means big sound and the makers (chinese) but on a neck wide enough for the five strings which means also a very thick heavy wedge shape but also made it proportional to the body for a string length of 715mm. the result being, unless the can find a string maker with a miracle e strings, that there is no possible way for a e string to work at a415. the tension is just too much. 


    His next step is to call around for a miracle string and failing that he has two options (unless any of you have a third option) - revise the set up and use it a a normal four string baroque cello or try revising the set up with a false nut, moving bridge position to reduce the string length to 690 or less and then tune to lower a pitch then it might and i think might work. The other five string I have worked on was able to work because it was shorter string length with a395 tuning. 


    He just has too big of a cello for a five string - interesting that Cathy Caldwell's book list her collection's five string cello as having a similar problem even with a 709mm body and a 644mm string length


    any ideas??



  7. Conner's solution is what I would do as well with just the additional note to use a pan head screw instead of a wood screw.



    the shaft above the crack should be just larger than the screw diameter so the two sections are pulled together otherwise they will work apart over time. 

  8. Hi Richard, thanks for the link, that is it exactly, interesting that it appears on so many models


    Martin, I agree with your dollar figures, just used the last document's number in my post which means the guy doing it hedged his bets and didn't want to commit either way without really saying it.


    This person is known for inflated numbers and his fee based on percentage of that.

  9. Rick


    I may have to needle point that to hang in my shop, it brought tears to my eyes and a memory trip back to my Woodstock days.


    And Jacob, it is my opinion that the large cross grain cleats do more damage in the long run, I can't count the times I have been faced with the new cracks running up the edge of the old cleats - or find buzzes from loose ones


    if I feel the need to reinforce I opt for a diamond shape with the grain on the bias and the long axis aligned with the crack.



  10. yes, you are all echoing my own thoughts, I could see it was hinkie but I am faced with having to explain that to a nice elderly lady with limited english that her family treasure is not nearly as valuable as all of her stacks of papers indicate, they are sure it is a real joseph klotz and while that would be worth the 6k, this violin isn't worth near that and it is up to me to break the news and try to sell it. I do think it will be a nice violin for a new owner but I was hoping to get some infomation to use as backup when i let her down.


    the inside is better than the scroll would indicate - nice linings, good corners but i will not be opening it, perhaps it was "cleaned up" when the crack in the upper bass bout was fixed.




    I was hoping beyond hope that that brand was recognizable

  11. Just got this violin in on consignment and trying to figure out how to advise the owner, some bit of history behind it and of course some old apprasials as to what it is but,,,,,,,,,,


    there are many things about it that raises its level of bogusity but what I will ask first is if anyone recognizes the "star" brands on the back, top and bottom, the rest fits in with a Mittenwald product but just who and when remains up in the air to my mind and I hope the brands will allow for some degree of certainty.


    as to the question marks and red flags I can start with the rather crude pegbox and scroll, the neck is no thing of beauty either and you can see the mis shaped button in the photo too.


    the varnish is near perfect but there has been some restorations of the corners and a crack in the top bout, beautifly done but perhaps the varnish was played with at that time?  don't know


    From the body it is clearly a Klotz family which is what the nicely handwritten label says, Joeseph Klotz, Senior in Mittenwald, 1807 no 308, which is all well and good but this is exactly what is in Hendley's book right down to the number. That makes me doubt the label big time.


    The condition and varnish is way too nice for something supposed to be 207 years old, inside looks too clean too. The workmanship of scroll and neck is not what I would expect also.


    The history is that it was used in Romania professionally, for many years prior to 1980's when the family immagrated to Cleveland, elderly owner is the daughter of the player/composser who used this in orchestras in Romania for his lifetime.


    thanks for any help anyone can give











  12. My apology to a great movie line but a violin came in today with a crack in the upper bout and when i took the top off it seems to have been an old crack that someone else had repaired poorly, the photos will show a nicely cleated repair that failed , the cleats did nothing to keep the crack closed of course they all popped off by just looking cross eyed at them, both these and the ones located on a repair in the lower bout, they looked good but in this case no cleats would have been better than these pathetic things.


    instead of a simple crack repair i now have to undo the mess




  13. the back i would clean, perhaps buff out a bit to soften the edges of the scratches and then lightly polish it over, the top is something i fill with a clear filler i get from howard core inc, works really well but does take some time to fill really deep holes like these, once it is built up they can be leveled and polished over

    you may end up with dark spots but much less noticeable than now, if you get lucky the areas will blend in with the surrounding varnish with a bit of cleaning to get the dirt out first.



    product is call "rissfuller crack filler"

  14. do they thread together at the brass part, perhaps one of the holes in the center section functions as a stop while the head tightened?


    put a metal rod into the larger of the holes and hold that while turning the head?



  15. I had originally thought of try to make something like those but the space next to the bassbar precluded something shaped like that , the ring clamps where the perfect solution to this particular problem.


    A big thank you for posting your solution Oded




    I need a new picture, my girls are 13 and 10 years old now and I am feeling my age

  16. I just wanted to thank who ever suggested this clamping technique here on the board in the past, it stayed in my memory enough to try it on this difficult crack repair on a cello.


    Took a little time to make the PVC spring clamps and get the engineering of the clamp surfaces right but they worked like a charm and did the job nicely, was able to check the crack alignment as i went and easy to see what was happening.


    ths crack was just close enough to the bassbar to be a problem but not close enough to remove the bassbar, I will get cleats in without the expense of a new bassbar (a budget concern of the owner) and clamping from the exterior produced a flat/depressed area in the arching along the crack. clamping from the interior with the pressure as close to the interior arch produced a tight repair and realigned the arching on the exterior.


    all in all a neat idea (the little cleats were left over plugs from my furniture design days, used to hide screw holes)

    I used ten spring clamps in all, spaced out along the crack and the clamps made from two and a half inch pvc pipe, the clamp surfaces shaped with half round file, and small groove made with a chainsaw sharpening file and a flat area created with a sanding block.


    thanks for whoever posted this idea before.






  17. I am sorry to say I have no information for you but to say that the Fredrich Selch collection of American Music at Oberlin college also has two of these and they also have no idea of where they came from or exactly how old they are, I suggested showing them to the bow experts at the Oberlin workshops but I don't know if the curator ever followed through on that idea.




    interesting head and open frog though