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Everything posted by viola_license_revoked

  1. i gotta go get me some of the tools you guys mentioned... consider a candle warmer if you use small amounts of glue at a time: they are available at some drug stores for something like $5. i keep two 1/3 filled jars of glue rotating in and out of the fridge. add water or granules as needed. some scrap maple and a rusty piece of steel will make a round sole scrub in few hours too: buying expensive stuff is overrated. especially if you are not pro. because i'm a broke a** amateur, i make my own gouges, chisels and knives from cheap discarded (i assume to be W1) steel. i don't want to be a tool collector. i want to make stuff! all my cheap saws are not hardened so that i can sharpen them frequently. the only tool i use that i know for sure i can't make is a file. cheers broke, R
  2. if you can build a double bass, i'm betting you have the skills to fix this to a high standard. personally, i would not lay a patch of wood over the crack. a fitted sp patch is the dignified thing to do IMHO. the back looks to be a tough SP crack repair. the crack appears to be wide and very long on the outside. perhaps it should be closed up. a sp patch appears to be necessary but it can't be fitted over or function on top of an open crack. i think a cast appears to be necessary. the tall sides are going to get in the way. i know when guitars have a crack that's open a bunch, techs will glue a splinter of wood into the crack. that sort of thing is much less accepted in fiddle repair though i have seen examples of very well hidden repairs of that sort. every old cello i've seen thus far has a warped back. how warped is the back from the sound post damage? maybe you can start by cleaning it out with peroxide and distilled water. i was advised a while back that planning is the first major step to take. the top appears to be problematic (in the long run) given the compression damage. that sound post should never have been fitted that tightly. as mentioned in a few posts about SP patch repairs, they will require another patch in the future. in other words, once you start one, it's gonna require another sooner or later. i'm going to guess you've searched the mn archives already. i'm going to guess also that you know who really knows about this sort of thing. i hope they (including Oded Kishony) all chime in. i'm personally very interested in this repair you have. i wish i had one just like that to work on. i need more practice. a bit of the research i did online before i did a few, which may or may not be useful to you: Patch repair of sound post crack, What is the patch thickness? What size? A photo of patch and cleat usage plaster cast: back crack repair: sound post patch sp patch artison violin by Brian Epp Matthew Tucker Guy Harrison here's my post on a similar topic, but on a much smaller scale: books i found useful: VIOLIN MAKER'S NOTEBOOK by Henry Strobel the best of trade secrets published by the Strad mag the Brian Epp book on varnish retouching
  3. *GEEEE* who is Dr. Na..y's... ? while we are at it, can we also talk about Vigdorchik please? *whack*whack... nah... not really. if you wanted to post but feel intimidated, i would suggest developing an immunity against sometimes unhelpful comments. and if you feel ignored, it may be because something interesting is going on elsewhere. so find a good time to post when no one is debating if opposing thumbs are necessary for transformed lean-over-fat varnishing on a acoustically tuned bow prior to rehairing with acid aged blonde donkey locks. or maybe others are too intimidated to comment on your post. or maybe no one cares about your inconsequential thoughts. its a bit like the Stanford experiment. we each wind up playing our roles. or maybe JUST DO IT... like the foreman with the whip said in the shoe factory. by the way, what do you do with all that wood dust, wood chip and shavings after you carve a back? back to everyone or anyone... anyone...anyone ♫ thank you Mr. Ducreux R
  4. can't load my entire folder, so a few of my repeat favorites to share. some of it interests me a lot, others are just fun. please add on on if you like. photoshoped fiddles the resistant violin the glass violin stick around for the crystal clear sound samples won't you? the marble violin the squidolin the kbow the aluminum cello the Maccaferri fiddle there are sound samples of a similar fiddle on youtube put up by .stainless strad oops... she's a baritone. additional sound sample available, again from . and last but not least, this is where i learned how to design my VSOs: how to draw a violin its all about the golden mean and cycloids etc. image stolen from: VLR
  5. Hello! if you prefer to worship the Weisshaar/Shipman book at a a distance like me, for whatever reason, i would like to add mt 2 cents worth: i bought these books over many years that i think have helped me: USEFUL MEASUREMENTS FOR VIOLIN MAKERS by Henry Strobel (under $15) VIOLIN MAKER'S NOTEBOOK by Henry Strobel (>$20) THE ART OF VIOLIN RETOUCHING by Brian Epp ($40) The Best of Trade Secrets published by the Strad mag. (>$50?) and a bow rehairing DVD i can't remember anything about. everything else i learned from the internet. specifically the maestronet archive, pictures from and tons of other sites with photos and description etc. also, it doesn't hurt to have played for 26 years. some cheap books i never bought after thumbing through them because i thought they covered enough to get me in trouble and not enough to get me out. VLR
  6. NO!!!......... i personally and sincerely hope there will never be any research imposed onto the viola like the violin. all that science, standardization and refined workmanship will not make a better viola. let that be a violin thing. violas are wild and nonconformists by nature. form and appearance, as it were, has proven to have much less to do with what is considered a good viola than a "good" violin. many shapes, sizes and material, practical or not, have been tried. and there's so much more exciting stuff going on. and tone comes first. playability next, and looks last. corner blocks and varnish optional for whiners. let master viola makers (designers and wanna be's) go nuts and do their own thing, success or no. like Ritter, Rivinus, Erdesz, Tertis, Iizuka, Stelzner and many more. i only wished DG had made a few and the Amati Bros or Brenzi or Tononi or Guadagnini many more. may contemporary masters too get the recognition they deserve. trying to standardize the viola is like trying to put it in jail. please give me my viola raw, unsterilized, unstandardized and unconventional, or even ugly! those "flaws" are its greatest qualities. just make me a good bowable box and put some strings on it! 'nuff said. don't mean to offend anyone. please forgive my rant. but that's where i'm at. just trying to keep it real. peace to one and all. VLR
  7. i just wanted to add that i wouldn't copy every wonky detail off a da Salo or DG. i happen to excel at butchering my own instruments. asymmetry is something i get even when i try my hardest not to. anyway, sound is more important than looks.
  8. i've been mesmerized by that for a long time... it almost seems as though the middle bouts and the bridge placement decided where everything else had to go.. sometimes with unusually long string after-lengths behind the bridge. its like playing timpani closer to the center. i would kill for a 16 1/4 Gaspar
  9. i was hoping someone would mention this. Thanks! working without a mold is no harder than working with one. it's different, that's all. can't cremonize a brescian. VLR
  10. i lurked around for years before signing up. its a way of sitting in the back of the room and watching and learning. it is amazing to see how vulnerable even some big guns can be on an international forum sometimes. i remember some of the now big guns asking about their new projects back when... it is an open forum as i understand it. the civility here is amazing compared to many other places, partly because the there are so many people who really know their stuff and their presence humbles many amateurs such as myself. as a contributor of stupidity, i only sign on when i really really can't beat back my ignorance and have to prove it in words. newbies are not gunning for a fight. and may not have solid ideas to contribute. some are routinely beaten into submission and told to check the archives or something along those lines. i think guests should be welcomed and encouraged to stay and learn. old hands know better than to dig themselves a hole unless they can dig all the way through to china (to set up shop) VLR
  11. woooh, old thread! hi linarol my 2 cents worth: actually, more like just under $50 worth. (i'm cheap) zyex (heavy or med.. not much diff) C,G,D. poor man's obligato's, as it were. helicore A for all those nose bleed positions. non-metal core A strings die when i try to hit anything too high. but don't take my word for it. try some Bowen or Walton and see for yourself. metal C's and G's go wonky and rubber-band-out if i play too loud. in an adrenalin-pumped performance situation, i may loose control of myself, and i do not need for that to happen. to make for a more aggressive sound, try raising the string action. if you do it right, it'll be tolerable and add more zing to your tone. blow all them bad violinists away! add a heavy bow and take up arm wrestling also. the zyexes stay their boring but dependable selves for months, after that they start to sound like chalkboard scratching. rehair your bow often if you are violent like me. its expensive, but i rehair them myself so i know its not fair. try this weird Korean rosin... i can't remember what it's called, it really does make a difference, but forget the fairy tale nonsense the maker says about it. it's about as true as santa. evahs are way too overrated... multi-strand synthetics crush, roll too much under the fingers and take time to settle. waste of precious practice time. ok for whinny little soprano critters. but viola and lower need real strings. solid core syn is the way to go. my Viola Shaped Object is 16 1/4", string length 365mm. homemade. good enough for grad school. i like what Ms. Wallin said: ://;#entry363085 ://;#entry363085 ://;#entry363085 have you found your dream strings yet? VLR
  12. sorry for the enigmatic response ignitegems, i was running out the door to work. recounting from personal experience and not from any true knowledge, my 2 cents worth are: try a quickie test: put a fingernail (with your finger attached that is... ) on the E string right up against the nut, and pluck or bow the fiddle. if the odd harmonic isn't happening anymore, chances are the nut was the culprit. verify with maybe a piece of paper under the string etc... the odds of having 2 nicked E strings are highly unlikely. and the winding come off a possibly wound dominant E would be too obvious. weird harmonics come from disturbed vibrations subdividing the string, i think. such as unstable or slipping contact between string and nut. others: look for buzz marks near the nut. maybe there is a mm or 2 of string buzzing the fret board. if the nut is too low, or there is a bump on the fingerboard... if the problem resides only with the open string, the bridge may not be the cause, even though it can't be ruled out i think. these are the preliminaries from my uniformed mind. if all the simplest causes ain't it, then we need to call houston. it maybe structural or other mechanical issues. R
  13. hmmm... assuming it is a 5 string. i sometimes have tuning issues with 5 strings. the close "third" between the E and C may not agree with the open 5th between A and E. some 5 strings resonate dissonance more than others. fuzzing the tuning helps occasionally. either that or the nut may be causing the open E to vibrate with some sort of incoherence. VLR
  14. i make my bridges from scrap maple collected in the building process... is that lame? VLR
  15. .... article: awesome bet you he really wanted to get up and tune that fiddle. VLR
  16. hello Rviolist besides the info given by Ed, another source that does not address the 1610 directly can be found at Hansell violins, where you can see a copy of another Brenzi. there is mention of a top partly made from bent wood, which is of course the thing i'm most interested in. here's the link:ℑ=71 the 1610 Brenzi looks small in Power's hands, but judging from Power standing next to Vengerov... ok.. i know, not a good gauge, but still Power appears to be a really big guy. or maybe Vengerov's jacket is just too long. in any case, Power's fingers are not doing any crazy stretches, even though he is playing the Eb version. VLR
  17. hello oil varnish is as repairable as any other. but don't do anything until you see your luthier. its a routine repair job for skilled luthiers who deal with all sorts of different finishes. but a bad luthier can screw it up faster than you can say ~NO........ i've seen a tiny scratch grow and grow and grow in the hands of an incompetent "repair" person... VLR
  18. hmmm.... how'bout this da Salo from uh... 1850, must have been the later Gaspar : maybe not so pretty to some, but i like it very much. or the Ex-Primrose Amati. which i think is very pretty, its a cut down. wish other measurements were available...
  19. wow! 100 bars lines on auction: can i get bar lines for violin too? i read treble tessellation only... sorry, not trying to be mean, but i just couldn't help it. VLR
  20. i'm a little confused... was that Confucius Confucian Confucianism ? i'll research it. VLR
  21. stupid questions please: in my very limited experience, woods differ with every instrument i make. how does a fixed arching system take this into account? the old fiddles seem to have gone through many hands and got many "improvements" along the way. they are like hot rods to me. if i was struck by a bolt of lightning (and didn't die) and miraculously reproduced a brand new dimensionally correct Stradivarius... but minus the mysterious aged wood, patches and other hot rod upgrades, would i get close to sounding like the real thing? thanks VLR
  22. thank you both for your comments. this is my first "real" violin and has a lot of sentimental value to me. and yeah... i was hoping for a major project. but it is also good if it didn't require a lot of work either. i am currently junk hunting on ebay for more fun and educational projects. if i was trying to develop a "syllabus" to learn fiddle repair by myself, what types of projects would you all recommend ? for example, how many basic set-ups, complicated scroll grafts, varnish touch-ups, or if i do 30 sound post patches or rib doubling etc, in 4 years, will i qualify as a serious beginner and have enough experience to attend a real restoration/repair workshop without feeling like a fool? i am all for selective, repetitious and intensive practice to get better. show me the road signs if you please and i will do the rest. a higher resolution picture i offer here: you can feel the entire glue joint distinctively if you run your hand over the seam. the gaps at the top and bottom feels like just under 1/2 mm apart. it's definitely "V-ing". the top has two long cracks on either side of the fingerboard which i think will need to be addressed. the fingerboard really needs to go. it is entirely out of shape. other than that, all other old cracks have been repaired in the past and i feel it is best to leave them alone. thank you ! VLR
  23. hello folks i have a fiddle i want to fix later this summer. preliminary questions, if i may, are: 1) how do i establish what really needs to be fixed and what does not? 2) conservation vs new parts. how do i figure out what to fix and what to replace? i've picked up some new found ability to mangle instruments last year and i am hungry for more adventure. the more challenging the better. my pet machete awaits fresh kindling. regarding this instrument, it is probably late 1800's, likely German. with a fake label. the back joint is slowly coming apart. especially at the top and bottom. in the last 5 years or so, light has become visible through the gaps. am i looking at pulling the back off to repair? surely something needs to be done, no? how would you all approach this? any and all suggestions/opinion welcomed... many thanks VLR
  24. hello Barry question if i may: on an early 5 string vso i built, the violin scale length C string sounded like a rubber band. is it because of my vso dimensions or lack of string tension? or maybe a combination of both issues? i thought i should stick to viola-sized 5 strings, but you seem to have found a solution.... your thoughts are appreciated. the instruments you build are fresh and breathtaking. thank you for posting. VLR