Bruce Carlson

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    Cremona

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  1. Bruce Carlson

    SUGGESTION FOR LABEL REPAIR

    No. It's a bad imitation.
  2. Bruce Carlson

    SUGGESTION FOR LABEL REPAIR

    NOT Rocca however.....
  3. Bruce Carlson

    Stupid violinist questions

    Like If purfling comes unglued it can cause a buzz on certain or all notes (some have suggested that this frees the plates to vibrate) but in reality once you wick some dilute glue where the purfling is unglued from the channel, the buzzing immediately stops.
  4. Bruce Carlson

    2018 Joe Thrift workshop

    I think the main problem is that you don't see creep right away. You see it 10-20 years down the road. I certainly don't want to criticize Joe Thrift's workshop, as one reads so much positive feedback, I'm sure it's great.
  5. Bruce Carlson

    15 1/2" viola plans

    What string length are you going for? Why the Gibson, that has a 40,8 cm. back? I presume you are talking about the Gibson Stradivari viola, or are you talking about the Gibson violin played by Joshua Bell to enlarge?
  6. Bruce Carlson

    1916 Carlo Oddone violin??

    I don't like to categorize instruments acoustically by maker. Ideally, every instrument should be judged on its own individual merits. On occasion you can find an instrument that is inexpensive, sounds great and is not necessarily Italian. Many instruments have gone through a period of tweaking and adjustment once it has left the maker's shop, sometimes light and sometimes radical, some not modified at all, some for the better and some for the worse. The only way you'll ever know is to play it. Any violin should be given a chance. I have seen some violins that were visual "dogs" that sounded just fine and vice-versa. My two cents.
  7. Bruce Carlson

    2018 Joe Thrift workshop

    I understand that Franklin, the company which produces Titebond, also states categorically that their glue can creep under certain conditions. This has been posted before on MN. Where I work, some people have been using Titebond for decades and "occasionally" I get to re-do a center joint on the back where the two halves of the joint have slid. Usually, at the center joint, the back sticks out slightly further on the soundpost side. read - Common Gluing Terms - Polyvinyl Acetate (PVA) Glues If you can't link, the text is below, straight from Frankin who makes Titebond. Polyvinyl Acetate (PVA) Glue Any glue consisting primarily of polyvinyl acetate polymer. This category includes most traditional white glues and more advanced yellow aliphatic resin glues. Although PVA glues can vary in strength, flexibility, water-resistance and sandability, they offer good performance, cleanup with water and are non-toxic. Because PVA glues tend to “creep”, or slowly stretch under long-term loads, they are not recommended for structural applications. A back joint under constant load I would consider a "structural application".
  8. Bruce Carlson

    Cremona must-see, must-do, must-visit?

    If the Italian Ministry of Cultural Heritage discovers that you have uncovered human bones or anything that could be a potential historical/archaeological site, all work screeches to a halt. They don't care about how much time or money you have already spent to get that far. The least expensive thing to do, which is exactly what the coffee shop owner did, was to pitch the stuff out, take it to the dump and say nothing.
  9. Bruce Carlson

    Martin Mathias Fichtl Vienna, Large Cello

    Hi Jacob, At the start of my career I did cut down two celli. One was done at Weisshaars and it was there I learned the technique. We tried to keep as much of the original purfling and edge as possible. If radically cut, the grain lines, especially on the spruce, begin to go visibly skew to the rest of the belly. The first cello was an unidentified of German origin and the second was from Markneukirchen with a 42 cm stop. Too far to push the bridge up. After those jobs I declined any regraduation or redimensioning of instruments. The saying in Italian being: "You know where you start but you do not know where you will end up." or "It's easier to remove wood than it is to put it back." . It's unfortunate that Museums seem to be more keen on expensive and playable instruments. A fine example of one or even several larger size celli would, for me, be a must in a museum to cover the various types of celli and to more completely trace their development. I can't name names but I know of a dealer who had a fine Ruggeri cello that had been "lengthened". It was done well enough but you could still see the work. The dealer declared to the owner that Ruggeri made the cello but realized immediately that it was too small, so Ruggeri lengthened it himself!!!! Odd he didn't use the same varnish.... If I wanted to be a total cynic, I could suggest that, once the repair is done, you could tell the prospective purchaser that you found it already cut down. This would get you off the hook and you could put the blame on Claude-Victor Rambaux or some other dead maker who can't defend himself for having perpetrated such a vile deed. By going public with this dilemma on Maestronet, you may no longer be able to get away with that. Honestly, I can't imagine your making a false declaration to a customer anyway. Good luck in your choice and all the best. Bruce
  10. Bruce Carlson

    Stefano Scarampella Fake quality

    Some of the better copies pass for originals and many are way overpriced. Scarampella copies are still being made today. Caveat emptor! Stefano Scarampella was quite a different maker than his brother. Giuseppe Scarampella was a perfectionist and made some beautiful and carefully made instruments. Stefano, by his nature or by contrivance, appears to have been going for a certain visual appeal and is one of the makers who was producing an "antique" look while the Antoniazzi's, Garimberti and Ornati were producing clean modern violins. Stefano Scarampella developed his own very personal style and these very characteristics make his style a target for the falsifier.
  11. Bruce Carlson

    Tips for Removing Cork Residue From Top?

    To remove cork I usually use cold steel (a dull scraper) and light fingers . The real problem is the different types of varnishes you can come across, some of which need special precautions to keep almost anything from sticking to it or marking. Personally I don't use anything with lubricating qualities because it can force you to tighten the chin-rest even more. I prefer an inert material like chalk, the dusty type, which helps avoid slipping and over tightening. On the 'Cannon' the lower edge of the belly still has a fairly pronounced lip and the chin-rest will stay in place with either fitted cork or a silicone cast covered with thin leather. The chin-rest screws hardly need to be tightened. Paganini in his time was setting a new standard for violin playing but I would be surprised if some affirmed that his technique hasn't been improved upon. The consensus on his playing and musicianship at the time, even by other violinists is generally positive if not enthusiastic. To this, add the composer/musicians such as Liszt and Schubert. Paganini was certainly a great entertainer but with people like that in the audience you can't 'fake it'. As for the "sound" of the Cannon, to each his own. I've heard the violin now for decades, close up, in a hall with all sorts of music and all qualities of players. It would hold it's own against the best (just my opinion).
  12. Bruce Carlson

    Proper Label Name

    Guarneri in Italian. Guarnerius in Latin. Which Guarneri/us? There were five makers in the family. If it is 'del Gesù', the nickname came after his death and refers to the cross and IHS on the label likely coined to differentiate from Giuseppe/Joseph Guarneri/us figlio di/son of Andrea/e. There was some confusion between these two makers for a time as there was for Peter of Mantua and Peter of Venice (uncle and nephew). Most people in North America are more familar with Joseph Guarnerius 'del Gesù' rather than Giuseppe Guarneri 'del Gesù'.
  13. Bruce Carlson

    Who's the maker?

    The photograph on page 36 in Hamma actually should be switched with the photograph on page 47 editing error. Don Niccolo Amati for Brothers Amati. Don't see Italian here AT ALL. For starters, look in Walter Hamma's 'Geigenbau Der Deutschen Schule'. The image of the upper block detail, once Jacob Saunders see it, will expose you to a sound verbal thrashing. If you have a digital camera you can filter out much of the blue interference in your UV photographs through color settings or use another preset mode that enhances the reds and yellows and lowers the blue such as "cloudy day". Try to make the blue and purple haze disappear altogether. Bruce
  14. Bruce Carlson

    Illegible label on Italian auction cello

    Andreas Guarnerius fecit Cremonæ sub (missing or cut off) titulo Sanctæ Teresiæ 16?? (illeggible) It's clear that the cello stylistically has nothing to do with Andrea Guarneri. Poplar or willow back, beech ribs and a walnut scroll.
  15. Bruce Carlson

    removing fingerboard

    Put it on the belt sander. Looking at the way the wood splits, I would remove the upper nut and start from that end with an opening knife. If it doesn't budge you can always do as suggested by cutting away 99% and soaking off the remaining bits with water and some paper towel.