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Everything posted by danielmiller

  1. Little late on this thread, but thought I would give my two cents. As far as the Loctite 330 is concerned, I guess time will tell if it holds. If the bow isn't worth much, then I'd say feel free to experiment. I have used a black Loctite CA glue that "flexes" on tip plates, but they ended up falling off. Whatever is used to cause the glue to flex also weakens the overall bond. If this is the same glue, I'd say steer clear of it. I personally use what I know works which for me is either G2 epoxy, as long as it is mixed properly, or a fresh industrial strength CA glue. G2 is not really reversible. With enough heat applied, it could come apart but can't really be cleaned off. CA glue is reversible and can be cleaned off with acetone. However, I don't know why anyone would want to reverse a head spline. I like the idea of using hide glue, but between climate issues and constant bow hair tension I don't think I would ever use it. For me there is too much risk of failure, which I can't personally afford to have in this business. Good luck and let us all know how it holds up.
  2. You can always clean out CA glue with acetone, but not much dissolves epoxy. Either one will hold it; one is reversible one is not. So, if you use epoxy, make sure that it is together so that everything lines up perfectly. I'm assuming you're going to spline the head? I have used both CA glue and G2 epoxy for this. If either glues are old, it won't hold. If you mix up G2 on a rainy day, it won't hold, it won't even stick. I don't know why, but it doesn't. You will need to use an epoxy like G2 or another epoxy that is designed for tropical woods. Also, CA cures a lot faster. I let epoxy sit for at least 24 hours. Hope this helps.
  3. Unfortunately, even repaired, it will most likely come out again because of where the break occurred. There is not much for the neck to hold onto there and the tension from the strings is not going to be kind to it. On top of that, you are looking to pay as much for the repair as you did for the cello. I have done this repair many times on really cheap cellos where you glue the neck back in, remove the fingerboard and countersink a bolt that goes all the way through to the heel, then glue the fingerboard back. But even this type of repair only has a 50% success rate, especially if you drop it again. If the fingerboard is not ebony, just painted black, you could glue the neck back in and drill a hole through the fingerboard, glue a dowel in and re-paint it black. Wood glue is as good as any for this repair. Just a note here that I would never do this type of repair on a nice/valuable instrument, that is another story, What I have described above is a cheap, quick fix for entry level instruments.
  4. Chris, what you have aside from monetary value, if the bow is the real thing, a good playing bow, your words, and a piece of bowmaking history. It is more than a frog on a stick. I think you will have a hard time selling it, but the value seems to be pretty close. Most players/consumers don't want something that is broken, but if the repair is good and the bow still plays well, that is in the big picture, the more important fact. An original frog should never separated from the bow unless the bow is just not repairable. In this case, it would be a great shame and loss to separate what was made to be together. I think it is easier for bowmakers to understand this than dealers. It sounds like you got a good deal on it, and if I were you, I would keep it in my personal collection.
  5. I don't have any photos of my knives, will take some tomorrow at work and upload. I think every bowmaker I have met has a different type of knife. I have a knife I made from an old handy file that is about 5mm thick and an inch wide. It has a single right hand bevel with a burred edge and works as a cutting scraper. This is the style of knife that Lynn Hannings uses (single bevel with burred edge) although hers is a Japanese laminated blade. Mine is pretty hefty and probably over kill, but it is what I use for now. I also have a Hock knife that is double beveled that I use for cutting plugs for re-hairs. It is about 3/4 in. wide but probably not quite 3mm thick. I have two small Hock knives single beveled for right and left side. I use these for mortise cutting along with chisels. Finally, I have a curved edge knife made in Germany that is double beveled that I just added to my collection. The goal is to use this in for the same applications that Josh mentioned. I probably have too many but I definitely use them all. Would like to see what other bowmakers are using out there.
  6. A good restorer can give you give you an estimate on the repair. The eyes are no big deal, but the missing ferrule will detract from the value. Not sure how much, that is why you need to take it to an appraiser, it will be much easier to sell with proper docs.
  7. I would advise taking the bow to a reputable appraiser in the bowed instrument world. A genuine Sartory bow could be very valuable and it would be good for you to get proper documentation. Could you upload some photos of the bow?
  8. I'm afraid I have to disagree with Skywalker. Even tension the width of the ribbon should always be used unless the bow is extremely weak. More tension on the playing side will not make the hair last any longer. All hair has a life span depending on dirt from the player's hands, the amount of rosin, the time between re-hairs, etc. If you put more tension on the playing side of the bow, you're more likely to warp the bow. You should not force the bow to do what you want it to, but allow it to do what it wants to do under the player's direction. Now, saying this, if the player is adamant about more tension on the playing side and cannot be dissuaded, then and only then will I do what they ask. Also, heavy tension on one side should not be used to offset a warp on the other, Hope this helps
  9. I was also taught by Lynn Hannings. Attach a nylon spool to your workbench. Powdered rosin on end of hair. Keeping the thread tight one wrap then a half hitch, 2 wraps then tie a square knot. 2-3 more wraps and another square knot. Cut thread, heat end with small flame making sure not to melt the nylon thread. This small amount of heat will cause the thread to stick together and the initial rosin on the hair to melt. Squeeze the knot flat with parallel jeweler plier (no teeth). Powdered rosin on the knot and melt with small flame. If you do not like using melted rosin, medium viscosity ca glue is great.
  10. The advantage to putting in a groove on the underside of the plug is that it helps to keep the knot in the center of the mortice and it gives the sides of the plug a little more depth to fit against the walls of the mortice for a more secure fit. However, this is not necessary for a good re-hair. It all depends on how you tie the knot and fit it into the mortice.
  11. I have not used this method yet personally, but have been told that the only way to restore the ferrule properly is to take a jewelers saw and open the ferrule at the solder joints so that it is in two pieces. You then straighten the flat piece of the ferrule, solder the two pieces back together and file the excess silver off of the flat piece. The reason these extreme measures are needed is that the silver is so soft that it stretches when messed up by an oversized spread wedge and is unable to be flattened perfectly without distorting the curved side of the ferrule. If you have made ferrules before, this is not a terribly difficult process, it just takes time and you have to be very careful. I have used similar methods as Brad in the past, but have not found them to ever work perfectly.
  12. Looking for a little help/advice on a bow. A customer brought me a nice violin bow that she had re-cambered the last time she had a re-hair. She said that it was not responsive when she was playing at the head of the bow. Whoever added camber (she did not tell me who) added it right in the middle of the bow so that it is almost pushing through the ribbon of hair; and, she is still having the same problem. Now, I have removed camber before, but only on bows that I have made that were unfinished. I have tried the same method I was taught and that I used on my own bows, but this stick is not moving. The method is heating the area that needs camber removed and tightening the hair so that it pulls up evenly along the stick, not leaving any flat spots. I have been working on this for several days now without success. So, my question is, should I try another method, or is there another method to even try? Or, should I leave it as it is, or is there a camber specialist out there that I should suggest she send it to, or should she send it back to the maker and let him fix the issue? I am painfully aware of the risks involved with re-cambering and would appreciate some input. The bow actually needs camber behind the head. There is a nice flat spot a little less than a hand-width behind it. The reason she hasn't sent it off yet is purely monetary and the risk of shipping. Thanks for any help, Daniel
  13. I use my 1" Hock knife. Mine is a single bevel, but I used a double bevel for years. It may seem overkill using a big knife for small plugs, but I find that I have better control over the cuts than I did with an x-acto, chisel, or smaller knife. It comes down to personal preference, what works best for you. However, the key is, regardless of blade type, a shaving sharp edge. I have once severely cut my thumb and earlier today, actually, almost did it again, because my knife was not sharp enough. The first time was an x-acto knife and the second my Hock. It's always an "I know better to be doing this with a dull knife" moment that comes from being in a hurry, for me. People will argue the merits of single vs. double bevel for plug cutting, but I personally don't believe it makes a difference. If you are skilled with one over the other, then you will be able to control your cuts and make a good plug. Another reason behind using the big knife is that I always tended to chop/push with the x-acto or chisel, whereas the size and angle of the bigger blade intuitively causes me to slice. Hope this helps.
  14. Hi, I buy all my hair from Lynn Hannings. She sells hair in one pound bundles, but will split it up in quarters to the amount that you want, i.e. 1/4, 1/2, 3/4. For most bows, I use the Mongolian hair that she sells. It is quite expensive, so I usually buy it in 3/4 lb. increments. I find that this amount lasts a good while, but not so long that it hangs around for over a year. I like doing it this way so that I know my hair is always fresh. She sells many varieties of hair, but my customers have responded the best to the Mongolian. I know that she personally checks the hair from her suppliers and sends it back if she does not like it, however, no matter how good the hair is, I always have some waste and find inconsistencies within each bundle. I do not think she sells anything under 32" in length. I echo Josh that if hair is stored properly, is should last about 3 years before losing its flexibility. Hope this helps.
  15. Brad, I do this repair quite often. I normally use Josh's method of the CA glue and pernambuco dust. I have also used pernambuco shavings with CA glue as well. I like both of these methods because they are simple and, as Josh said, can be undone if necessary. Another method I have used in the past is to build a dam around the worn area with painters tape and fill the dam with G2 epoxy. If the epoxy is mixed right, it cures clear and you can work it down to the stick dimension. If it isn't mixed right, it will haze over when it cures. I have been told that it is more durable than the CA fill, but it takes longer to do and cannot really be reversed with out removing some wood. It's just another option to think about. The problem with the snug rehair and close thumb leather is that it doesn't fix the issue. If it is not repaired, regardless of hair tension, etc..., the frog can crack along the corner facet because it has no support beneath it at that area of the stick due to pressure from the thumb and/or the frog sitting snugly against the stick.
  16. I agree. I am hoping to graduate to your method eventually. I do think it is important to be able to get the angle correct so as not to weaken the stick and feel that that is one of the limitations of using a backsaw. The other is if you don't get it straight and try to correct it you don't end up with a straight or clean cut. My splines tend to be somewhere under just under .5mm thick. I don't like them any thinner than that because they tend to break before I can glue them in, but I don't know if I want them much thicker that .5mm for the sake of removing as little original material as possible. Josh, how much does the thickness matter?
  17. I have encountered this type of repair a few times. The first being a Hill bow. The repairman that splined it originally refused to fix it when the repair failed. I do not know what glue was originally used, but I cleaned it with water, alcohol and finally acetone before it came off. It wasn't epoxy, but didn't look like a CA glue either. The broken spline was still intact, so I epoxied (G2) the head back to the shaft then cut out the old spline with a wider saw blade. I then used a thin CA glue to glue in the new spline. Now, I use G2 for the entire repair, only because it has the ability to flex after it has cured. Whereas, most CA glues are brittle after they set up. The last re-spline I did just left the shop a week or so ago and so far it has stayed. I use handsaws for this repair because that is how I was taught and I do not have a milling machine. If you do have the equipment, the benefit of using it is you ensure a clean cut. However, if you do not get it straight, well, it ends up not being straight.
  18. There is no way to control how the acid reacts with the pernambuco. It can go from being a slightly darker orange to very dark red approaching brown. I have been told that multiple treatments will continue to change the color to various shades of red. I would suggest testing it out on a piece of pernambuco from which the chin rest was made and if you don't like how it reacts with the initial treatment, try treating it again. You have to give it time to settle in after treatment, though. I have treated bows that came out relatively dark and a week later were somewhat lighter.
  19. You can swap out the silver winding, which could theoretically dampen the vibrations running through the stick when played. Silk is really the only alternative that I know of with which you will actually notice a difference in the playability of the bow. You should be able to feel the stick vibrating through the stick, which can enhance your playing because of the added response. However, silk is very lightweight and weight would need to be added beneath the thumb leather in order for the stick to be properly balanced. This can be done with golfer's tape and is not structural invasive. The overall weight of the bow is not as much of an issue as balance. If the proper balance is not maintained, the bow will be very difficult to play.
  20. I would echo and add that if the balance point is correct on the bow, then the weight should not adversely effect your playing. An average balance point is about 9.5" in from the frog end of the stick, not including the button of the screw. If the balance point is not close to this within a quarter inch, it can make the stick feel either too light or heavy regardless of the actual weight of the bow. To correct the balance, if it is too far out towards the head, the thumb leather can be removed and lead tape added beneath it to bring the balance back. If the balance is too far back towards the frog, the winding can be replaced with tinsel, silk, etc. to correct it and could lighten the bow up anywhere from 2.5 to 4 grams. I think this may be your best solution to try with your particular bow and is probably the most affordable. I would not recommend adding lead to either tip or frog mortise. I don't think it works as well and it takes up room in the mortise that is needed for the hair and plug. I don't recommend replacing the frog. Even for a workshop bow, I think the original frog should stay with the bow unless it just doesn't fit the stick or is beyond repair.
  21. I looked at the bow restoration volume. Very thorough. I think this group of books are worth having. My shop has ordered a set, but has not received them yet. Can't wait.
  22. I buy my hair from Lynn Hannings. Good quality. She checks it herself when it comes in.
  23. I have had this same experience. There is something in the shaft of the bow itself that is making the noise, however, I have never been able to figure it out. You can always send the bow back to Andrew Glasser. He recycles/refurbishes them, and will swap it out for another bow for about $12, I think.
  24. I would say that it does not have to do with the ability of the individual bows as well, but more with the individual characteristics of the bows. He probably knows which bow works better for each movement/piece. It really is a combination of instrument and bow, not one more than the other. From my quick watch of the vids it seems to me that the Peccatte really sings, nice and well rounded sound, and the Arcus is a little more brittle or harsh sounding which makes it great for the movement he was playing it for. But this is just based off one viewing and listening to the bows and comes down to personal opinion.
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