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Everything posted by welshman

  1. I must say that ebay items like this remind me of the old joke about the $10,000 dollar apple, He only has to sell one. Reese
  2. You can try wetting the surface of the wood very very slightly with a damp paper towel, this will lubricate the wood just a bit, too much will clog and leave a fuzzy surface. This may result in a "rippled" surface as the wood drys following the flame, could be a nice affect. Reese
  3. Hi, I don't know if this will be of any help but I will use a fine srap of contact glue to secure the rib material to a thicker block of wood that I know is as smooth and square as I can make it, I use Japanese wood block planes and the water stones to sharpen. they work on the pull stroke so they are easier to control and make an amazing cut went they're perfectly sharp, they can cut ebony like butter. Probably too much to change planes and sharping system at this point but I agree that angling the plane you have and shallow depth will help, for really knarly wood the Japanese style scrper pl
  4. Hi , one more thought on the foam possiblities, go to a largecamera store and ask about the foam inserts they have for the aluminum camera cases the professional use, the foam is designed to the easily shaped for varius equipment by plucking the sections out. Could be a real shortcut for the basic interior pads. Reese
  5. Hi, Multiple peice top are common in the bass world, Ga smbas too for that matter, One of the basses in the Cleveland Orch. is by Allen of Conn. and has perhaps 10 strips of spruce glued together to make the table, may be more its has been awhile since I worked on it. It makes sense when you know that Allen was also an organ/piano maker so a soundboard made of many piece is typical. Its a great bass and there is another in the Firelands Museum in Norwalk Ohio, that one is a corbon copy of my client's except it is 20% bigger at least, but with the same top and detail carving. It may have nee
  6. Glenn, I too would be reluctant to try the expandable foam, they do dry too hard and the curing involves heat (exothermal) and chemical byproducts fine for a house but maybe too much for a varnish. There is enough space and fabric between my foam supports and the violin so I'm comfortable with it, the foam is not too differrent than that used by modern case makers I've had a few of the wood Hill cases in my shop, always neat to see but not so good on interior protection. I've seen a violin case that opened at the bottom and you slide the violin out like a gun case, its been too long to
  7. Hi looks like a nice job so far, I always add an agravation cost to the job when working on a bass. The in line cleats look great, I always cleat in the direction of the grain even on a top, they will move and flex with the original material, humidity changes etc. cross grain tend to produce another crack along side of the cleat, which means job security for me in the future, I like diamond shape and thin and carve the edges after glueing. I think it is the surface area and quality of the glue bond that helps the cleat work, not the thickness which just adds mass. On ribs (and only on inexpe
  8. So are you folks carving white styrofoam to fit the fiddle, gluing it in and then covering that with velvet (or whatever it is)? I used a dense foam but not stiff like styrofoam, it is white but not as dense as a closed cell type, I got it at a fabric store, pillow foam? or something used for chair pads or matresses? Don't really remember, as students we haunted junk stores and resale shops looking for all sorts of stuff to use, I found a nice baroque style maple guitar in one that fixed up really nice, alas it went at for a song to a girl I was courting, it matched her voice so well and
  9. Hi Glen, Wow, you are taxing my memory as how did I make the case. I've had to repair the spring loaded holders on a few cases after the screw internal came undone. I may have to redesign mine to incorperate some kind of a lock system. I put them in reverse so as to keep the frogs away from the main body of the violin, the 45 corners look nice but it did limit bow space. I also sewed up a brown linen cover for it to protect the outside but would use a commercial bag now. My first impulse was that the Strad. case was just for the violin, do you have any measurments on length, the proportio
  10. Oh yes, I forgot. the utube video reminded me of a visit to the Museum of Appalachia Driving through Tenn. area. They have a huge barn filled with farm stuff but also a large collection of violins/fiddles and other instruments -made from tin cans, old boxes and who knows what, The violin from the video looked like it could have come right out of that display. They did have some of the instruments from the greats of bluegrass there too. Reese
  11. I've seen plenty of violins and cellos with the screw holes where the plates were, mostly 1850 era German. Probably a new craze to improve violins with technology. I did find a nice old cello at a house sale with the machines, they still worked so well I cleaned and oiled them and left them in. I did recut the neck shape, very blocky and uncomfortable, and rebult the body. I found a nice home for it with a young student who thought the machines were cool. I initally thought it could have been a church bass but it lacked the hole in the back for the carrying peg. Mostly the machines wear out an
  12. Hi Glenn, yes the bow holders are hand made/carved, I just realized that a Baroque bow doesn't fit, I made them for a modern bow and would have to move them for a baroque style bow, the extra pieces of wood are to ensure enough thickness in the wall for the hardware screws, you are right about the handle color, may have to change it, I'm guessing its what the catalog listed, which catalog I have no idea now. the case has small feet turned out of elk antler. I made the case walls as thin and graceful as I felt I could hense the extra areas. Where is the Stad case now? Reese
  13. Hi, I've found Henry Strobel book (s) very useful for general set up measurements, His Useful Measurements for Violin Makers is a good reference guide, It looks like his viola template is 43 mm in radius but the final shape would match the fingerboard with allowances for the different string heights above the fingerboard. He list 38mm as a radius for the viola fingerboard. Viola bridge width at the feet is also critical for good sound, the feet need to fit over the bassbar position in the correct spot then select the right width to center the blank on the top in line with the fingerboard
  14. Hi Sharron, My choice might be the Strad poster for the Alessandro Gagilano, I've worked on several of this family's instruments and the arching and size is very interesting, may be a unique selection rather than just another Strad copy. But I tend to choose the path less traveled. Good luck in your search. Reese, ps I always liked the cornerless model. Have you been able to vist the collection in Paris at their music museum, lots of experiment violin shapes there. Cite de la Musique
  15. Hi, Just did a quick search of the Strad home page for available posters, they list three or four cellos but not the DuPont, I have the De Munck poster from June 2000 but still looking to see if I still have 12 - 2001 issue. www.thestrad.com Reese Williams
  16. Hi, may I suggest a vist on-line to the "Shrine to Music in Vermillion SD" do a search and go to the tech. drawings for instruments in their collection, for a small price you can get a drawing set for the King Amati. I have a set for a viola and they are very expertly done. www.usd.edu/smm should get you there, it is connected to the University of South Dakota, look in the gift store. Reese Williams
  17. Well, that worked out ok, Lucky for me my wife is a teckie, As long as I'm here I thought you might like to see the latest restoration project I'm doing for Oberlin college, This had to be totally reglued with the back braces loose, open center seams and open cracks, lots of bad work on it over the years had rendered it unplayable See if you can pick out the pegs I hand carved from a cello peg to replace a broken one, and imagine how to thread the coiled up steel strings back under the fingerboard and over three nuts to their pegs (these a sympathic strings to the main strings seven each in to
  18. Hello Glen and Polkat, This topic has legs as they say, Polkat started this a while ago, in any event here goes with my attempt to attach some photos of my case effort, If you remember it is based on the Stradivari design in the Hill book but only in the general shape, details of construction and measurments were worked out as I went. The Walnut all came from one plank as I remember, I resawed and book matched the top and bottom, then formed the sides from the rest, the wood grain goes around the sides in a continous flow. I hand planed the surfaces then cut the 45 corners, used tape hinges
  19. Hi Glen, I just received my issue of the VSA papers, i will enjoy reading your article. I will post you some photos of my walnut case as soon as i take some new ones, I can seem to find the old ones to scan in (pre digital and computer). I'll need a quick lesson from my wife on how to load them in the right size but they will be coming. Reese
  20. Hi, interesting problem. I use a small trianglular file to cut two or three grooves in the end of the eyelet, this turns into a self threading screw, I make sure the holes in the right diameter for the "tap" and thread it in slowly, I back it out several times to clean out the chips and dust, if the hole is too big, i bush it and redrill it the right diameter, I use my experience and eyeball it, after a few I just know which drill bit to grab. Try some test holes in a block of ebony or maple. This work fine for me. Reese Williams
  21. Hi, Back in my days studing to become a violin maker/restorer I had a nice assortment of woodworking tools available and I made myself a custom violin case for a Baroque Violin project. The general pattern is from the Hill book on Stadivari, He made a coffin shape case (page 247 in my paperback copy) His looks to be leather covered with a pattern of rivits but mine is made from wlanut with a tong oil finish. The interior took a bit of trying but foam cut to shape, spray adhesive and velour cloth cut a stretched did the job. The bow holders ended up in a strinage position because of the 45 angl
  22. Hi, Reese again, by the way violinfan I'm a guy, Reese, Rys, Reece are all very male names in Wales, Hollywood cooped it for girls anyway, look for a loose fingerboard too although that usually shows up on all the strings, string pressure may hold it tight visually but lift the end near the bridge to see if it is loose. Any new cleats on the recent rehab? Loose purfling? Thanks!
  23. Hi, Look at the string groove in the nut, the string may be buzz in the groove or the contact point may be behind the leading edge of the groove so the final portion of the string is unsupported and alowed to "wiggle". Is the cello set up with a Baroque tailpiece and are the strings tied through the loop? If it is a modern tailpiece check for a loose fret. I guess the other item to check would be the string height at the nut. Good luck - buzzes oare the bane of my existance as a restorer. Reese Williams