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A. C. Fairbanks

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  1. Hello, OP here, Indeed, it is ultimately up to me, that is, we won't be putting this question up for a vote. But I remain interested in the perspectives of others with far deeper understanding of these matters than I. When a shop cleaned it for me a while ago, I assumed that their representative had that understanding. But then, after viewing my Burgess fiddle, (at the time, played every day for about twenty years) and describing it as "pristine" they "cleaned and polished" it for me without my knowledge, or permission, and that raised some questions. So, even on these seemingly simple matters, there are some subtleties, and interesting things for me to learn. All the best, and, as before, sincere thanks for your thoughts, A.C.
  2. Hi Glenn, I thank you for your comments. I'm intrigued by the fact that I was not thinking of the situation as you Hi Glenn, I thank you for your comment, and am intrigued by the fact that I had not thought of the matter as you have described. I would not dream of polishing some old, patinated, brass stuff I have so it might look like it was ready for sale at Walmart, but somehow, I thought of the frog in a different way. All the best, A.C.
  3. Hello all, First, to David, I thank you for the welcome back... Indeed, it's been a while, and I certainly hope that you are doing well. The "have a new frog made" suggestion that you and Jerry have made is certainly appreciated, and has stimulated these thoughts: I bought the bow about thirty years ago (shortly after I purchased a fiddle made by some American fellow from the Mid West, umm, Burdess, or something) and to this day, when I open the case, before starting to play, I find myself in the joy of simply looking at these remarkably beautiful objects. I've been incredibly lucky in this regard - and have some extraordinary instruments: A while back, ragtime guitar virtuoso Ric Schoenberg gave me a call. He asked if he and a colleague might come to my home to "measure up" my 1926 000-45 Martin guitar. I was fascinated as I watched the process. Then, as they prepared to leave, Ric said something like "Remember, you don't actually own this thing. It's more like a stewardship." I smiled, but, truth be told, thought the comment a little odd... Now, I'm about thirty years older, and perhaps, in some ways, slightly less dense... But, back to the bow: If only temporarily, I am its owner. The frog has not deteriorated in any way that I can see, other than the slight gray look I have described. So, were I to focus exclusively on issues of stewardship, all of my instruments would spend their days in a cabinet, resting unplayed. Or, I suppose, I could play 'em as they came from their makers' hands with loving caution, and providing them any work they might need to keep 'em healthy for the generations yet to come. Right now, with regard to the bow, I tend in the direction of enjoying the bow as Bill Watson made it. Somehow, that feels like a tribute to his gifts as I learn of his passing. But, I am open to all views on these matters. All the best, A.C.
  4. Hi again, I am not trying to lend authenticity to the pieces I read. (As we know, now-a-days anyone who owns a keyboard qualifies as an expert.) But yes, I have read that the baby oil can cause delamination. I don't want to test that possibility on a bow that I love, so would want to feel confident in advance. Thanks for any further thoughts, A.C.
  5. Hi FiddleCollector, I had heard of the baby oil technique, but had also read of concerns about "delamination" problems. Might you tell me anything further about that? Sincere thanks, A.C.
  6. Hello, My favorite bow is a W.D. Watson with a tortoise frog. I've had it about thirty years. Over time, the frog gets a dull gray look. (Hmmm, I'm also getting that look, but that issue is probably best explored on another forum.) Violin shops have brought it back to "life" for me, but I assume that I might be able clean it up on my own if I knew the appropriate method. Obviously, I don't want to place it at risk. Thanks for any assistance on this, A.C.
  7. Hi David, A great Psychologist and professor of conflict resolution (now 94 years old) once said: "Conflict is a bit like sex and food... if you engage in it too much, or too little, it might be a sign of trouble." All the best, A.C.
  8. Hello to All, If you are not already familiar with it, you might want to read "Brent's Sharpening Pages." (Just Google for those words, and please accept my apologies for not providing the link...) All the best, A.C.
  9. and I will add: As is true for many folks, I have experimented with many, if not all of the commercially available chinrests over the years, and each was uncomfortable in its own unique way. Then, a while back, in desperation, I tried on of those "heat it, stick it to the chinrest, push your face into it, and let it harden up in the shape of your chin" gadgets. It really worked well in terms of comfort and control, but was tolerable only when I kept my eyes closed when handling the fiddle: It looked like an unusually small, and oddly colored, cow pie, that had been deposited on my otherwise beautiful violin. Then, after about a year I realized that the form fit pad could better serve as a template for carving my first bespoke chinrest. I am about to carve my second. All the best for the New Year, A.C.
  10. My thanks to all... And to David: If new Burgess fiddles are going standard, that'll be just fine for my old Burgess fiddle... Warm regards, A.C.
  11. Howdy, I am just about to carve a chinrest, and have a question about clamping hardware... In the past, I have used the Hill clamps, that is, the sort with the two completely separate adjustable legs providing the clamping pressure. But I was just looking at a "Standard" type of clamp that is much the same with regard to adjustment, but has a pressure plate connecting the two legs where they are in contact with the back of the fiddle. Somehow, I prefer the look of the Hill type, but I wonder if there is not an advantage of having the pressure distributed by the "plate" used with a quality standard clamp. I would appreciate your thoughts, and wish you the best for the New Year, A.C.
  12. Howdy, (Actually, it's also called "cutler's rosin" and it probably would have worked well...) With thanks to all, the whistle is back in fine shape (I used the Loctite Blue for a modern high-tech touch.) All the best, A.C.
  13. Howdy, I just got a tube of blue Loctite... But I should have mentioned earlier that the very first thing I did was to send a note to the maker. But I've not heard from his as yet, and I am eager to take the instrument with me on a vacation trip that's about to begin. All the best, A.C.
  14. Hi Brad, I assume that the maker made 'em that way for a reason. My guess is that if the lower tube were to be damaged, for example, he could pop the upper part onto a new lower part for less than half the price of the original instrument. But beyond that, I suspect that you are right about the water resistance of these glues being sufficient... Many thanks, A.C.
  15. Hello to all, Thanks for your comments... To respond to some of the questions folks have asked: The joint that opened is not intended to move. It is not the tunable joint, which remains in fine shape. Though the joint is "permanently" closed, it was held in position with a material that I could very easily remove from the brass with my thumbnail. It just chipped away, with very little tendency to stick to the brass. The material was dark blue in color, and having looked at it again, I think that it may be a hard wax that was melted into the joint. I don't know of the reason, but it was clearly set up so that it could be very easily disassembled. I have written to the maker, but think it may be a while until I have a response. Things like double sided tape could not work because the slip fit is excellent. There is just not much space between the two parts. A few folks commented on soldering. Had it not come apart, I would have assumed that it was soldered, but I hesitate to do it that way until I learn more about the reasons for this method of construction. Thanks for any further thoughts, A.C.
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