Dave Slight

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    Manchester, England

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  1. I’ve never heard of them before either.
  2. Not really sure what you mean here. When the bridge tips over, the tailpiece then slams into the belly (on violins and violas). The underside of the adjuster, being the highest point, makes contact first, followed by the string ball ends. Such a large force in a small area makes some pretty deep depressions, and can lead to a crack, which usually lines up with the sound post.
  3. This happens most days. It is incredible how some players can have the bridge so tilted, yet not even realise. A bit more tuning and the bridge would come down. Can get very expensive to fix, if the underside of the adjuster cracks the belly.
  4. In my experience, classic Italian grounds are not really that dark, and it can easily be overdone. With any strongly coloured varnish, there will be a strong contrast when worn back to the ground, and also a difference in texture between the two. It's hard to convey those sort of things in a photo when using a flash.
  5. Looks very much like the sort of thing a mouth breathing shed dweller would do. That is why it failed, because the work is so toe curlingly poor, not because of the type of glue used. I hope you got a condition report for this one
  6. Agreed. I spent more time, frustration and money than I'd care to mention in the past, fixing up Norris, Spiers, Preston & Mathieson planes. With anything that has lived a life or two in workshops, there are going to be some issues, not all of which are easy to sort out. Back then, Lie Nielsen and Veritas were new to the English market and I did not know much about them. There is a lot to be said for something which is excellently made, guaranteed, and works straight out of the box after a quick hone.
  7. For flattening the rib garland, a low angle block plane is ideal. It needs to have enough length to remain stable, and not plane a hollow between the blocks, so the violin makers plane offered by Lie Nielsen is not really much use here. Make sure the blade is very sharp, the mouth set fine, and skew the plane as you work around. For squaring up the blocks, first split the wood so that you can see which way the grain goes, and then use this to your advantage. A low angle block plane is fine to square these up too.
  8. Stephen, I think it would be best to visit some shops, and try a number of instruments, both old and new in your price range, so your daughter can get a feel for what she may, or may not like. Neck dimensions, weight of the instrument, dimensions of the top bout can all make a huge difference to comfort. Most shops will offer an approval period, so you can try things at home, and show them to the teacher with no obligation to buy. It is worth visiting several shops if possible, not just the one put forward by the teacher (if they have suggested one to you). For your price range I would be more concerned about getting something that sounds good, which your daughter enjoys, rather than how old it is, or where it came from originally. Once you have settled on an instrument, it would then make sense to look for a bow. In the interim, maybe the teacher will have a spare 4/4 bow your daughter can use until you are able to find one to compliment the violin.
  9. I think the shoulder tape Connor referred to is the clear self adhesive tape, used by some to protect the upper rib (shoulder) from varnish wear.