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jstainer91

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    http://www.kjviolin.com/

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    korea
  • Interests
    violin making, playing, studying violin history

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  1. Oh I am very sorry to hear that R.I.P.
  2. Hi Jacob I am desperately looking for an article on the Strad magazine of the past edition. It was on this subject. I do not remember the author. Have you read this article? Then do you remeber the date of this edition?
  3. Hi Does anybody know what type of mould was used on the 1693 Gould Strad of the Metropolitan Museum? And could you share some photos of this fiddle? I have already have those of M.M.
  4. I absolutely agree with you. I am afraid starvation so I have to make violins that sound good soon.
  5. Wow ~ How much does it take for you to get this task done?
  6. Yeap....I've been doing just like that for 15 years. But as you may know, we can hardly argue about the violin considering all of its surrounding factors at one go. So I decided to post my question giving weight only to the plate thickness and plate treatments.
  7. Many thanks to those who posted answers. I would like to wait more and see what other expert friends think about this subject.
  8. Hi I'm a violin maker. I've been making violins for 13 years and I'm making the 60th violin now. I write you to ask a question. Until 2 years ago I used to make my violins following principles that I learnt from the violin making school; leave the table comparatively thick to that of old cremonese masters. But with that kind of table thickness, I could not satisfy professinal musicians. What they want from thier violin is generally a big, powerful, and projecting sound like Strad or del Gesu'. I could not get this kind of sound out of my violins with much wood left on the spruce. So around a year ago I decided to change my strategy; make my front plates more thin. So I made some violins like that way not yet realizing the importance of stiffening it with some kind of ground material. The result was as clear as daylight; easy to play, but feeble sound that does not goes far. So I finally began to think about stiffening the front plate. There are, as you know, some useful materials like casein and plaster mixture, linseed oil mixture, sodium silicate, and so on. For the 60th violin I thinned the front plate up to 25 mm all over. And plan to apply sodium silicate for experiment. And like this....I'm doing some experiments these days. But what I want to know is whether I am doing right. Some say that it is better leaving the front thick for the future, even though it does not sound good right now. Others say that the thin plates as we see now on Strad are original and it is the key element for making a very good sounding instrument. I'm not convinced which way to choose though I'm studying and working very hard. I'm not happy with the first way in that musicians does not want to buy it right away, but it seems that one or two years of use surely improves the sound and becomes a not-bad violin. With the second way, I find it easier to sell the violin to musicians but feel uneasy about the future of the violin. I'm not asking your making secrets. But could you tell me your opinion on this subject? I know that the plate tuning solely does not make violin sing exellent. Thank you for reading my mail with patience, and I'm looking forward to hearing from you.
  9. Recently I have been restoring an american bass viol of which dimension are as the followings Length of the body : 935 mm Length of the neck : 245 mm Length of the vibrating string : around 740 mm height of the ribs : 150 mm constant This instruments has 4 original pegs. Does anybody has idea on how could this bass be tuned and what type of strings be used? And any additional suggestion on set up is welcomed
  10. Hi... One of my clients asked me to restore a yankee bass viol. I closed cracks and set new blocks in and now remains set-up. But I don't have any resource or reference on bridge, strings, and etc. But I have original pegs, fingerboard, tailpiece and end button. Does anybody have any information about the set-up of this instrument?
  11. Hi. It is easy erecting the soundpost watching through the endpin hole, as you know. But when we see the post through the f hole, it is difficult to decide the right angle of the post, because unlike the endpin-hole-view, there is not any clear base on which we can rely when deciding the angle of the post. It seems that there does not exist "right angle" seen from the f hole that satisfy all people. One finds it right while the other finds it wrong. Please tell me, the universal method of deciding the right angle of the post viewed from the f-hole,if exist. Maybe, I failed to make understand many of you. So I add a question like this. When we look through the end pin hole, the soundpost stand vertically to inner structure of the body. Now when we look through the f-hole, the post stand vertically to what?
  12. please send me the photos. jstainer91@hotmail.com But if they are not the best quality, I'm not interested in.
  13. Which grade do you think are they? The best? So-so? I cannot figure out just with photos. If they are the best quality and have good cut, I will buy all of them.
  14. Hi Violin loving friends~ Sacconi believed that old Cremonese, especially Strad ,made their plates very thin on purpose as we see them now. He means thin plates are original. But I hear many people saying most existing old Cremoses master violins have been thinned during later restoration. Making my violin, I have not found my own thicknessing strategy yet. As some suggest I can make my plates very thin and light rendering them stiffness with secret material. But others suggest me to leave much wood as possible for the future of my violins. Until now I used to follow the later, but musicians are not happy with the soudn and playability of my violin. I can switch the methods to follow the first idea but the problem is who could assure the future of the violin so created. Of course musicians would much happy with my violin but I would not manage to make deep sleep on even the snuggest bed in the world worrying about the health of my violins. Would the perfect shaping of the arch compensate the thin plates and help maintaining the structure? Of course I don't think nobody can give us definite answer over this question. So I suggest a poll. I want to see tendendy on this topic within this society.
  15. Thank you all. They are all great help~~
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