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Dave Slight

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Everything posted by Dave Slight

  1. It’s a screenshot of the video. You can see the title, so you should be able to look it up on YouTube.
  2. I would just ignore the Pringle drawings entirely. They are littered with inaccuracies, although given how they were produced, they did nothing to help him out.
  3. Indeed. No one was really clamouring for the referendum anyway. I think they believed at first that no one in their right mind would vote for it, but quickly things took on a life of their own. The response that came too late was a panicked chaotic mess, which failed to cut through. Anyway, back to the topic...
  4. Instruments aside, I wonder how brexit regulations would affect import duty on old/antique materials, such as the recent Florian Leonhard & Roger Hargrave wood auctions. A few pieces of that were purportedly from Hill’s, and potentially over 100 years old. I can’t think it all was sold to UK buyers. Maybe it makes no difference, and you just have to pay the full rate.
  5. There are plenty of other people to blame too. Especially those who ran an exceptionally weak remain campaign, and didn’t put in much effort until the very end.
  6. It’s important that the string grooves on both the nut and bridge are going to be appropriate, if changing string diameters, tensions etc. I regularly see things where people tried different types/brands of string, and just put them on without thinking anything might need to be adjusted. The end result is often a string becoming shredded by the nut or bridge, as it wedges and becomes pulled apart, rather than sliding over them.
  7. For me, I find the feeling the music gives more important than what the music is. If I was doing some detailed work which required a lot of concentration, I wouldn’t want anything too fast or bombastic. If I was roughing out a back, it would be a different matter.
  8. Sounds like a combination of things which are wrong. I’d bet the violin has cheap steel strings with coarse outer windings. The strings grooves on the bridge are probably poorly cut, and inappropriate for the gauge of the strings anyway. This results in the strings not sliding over the bridge, just being jammed in the grooves. This will make the bridge tilt over enormously as you try to tune. Combined with bridge feet that don’t fit the instrument at all, it has no resistance to tilting over, and flies out as you have found. Why not send it back for a refund, and consider you had a lucky escape.
  9. Awesome work, congratulations! What are your impressions of Versum strings?
  10. Before you do that, check the A string will fit through the hole in the tuner plate.
  11. I’ve tried both the Stradpet, and the carbon B&C version. They are a nice idea, which is very impractical for the musician. Since the claw is only held in by string tension, once the string breaks, the claw flies out and is lost. Even if you don’t break a string, players aren’t used to the tuner “falling apart” when changing a string. So it just causes problems which don’t need to be there. With the B&C carbon ones, I was able to modify them to stop the claw falling out, but it’s really hard to thread the string through the tiny hole from underneath. Even then, due to the thickness of the carbon, and the height of the ball end, it used up a lot of the clearance to the arching. Anything with a full arch, the ball end is almost on the belly. Now I use the titanium ULSA tuners, which I find to be perfect, but Wittner are also dependable with some minor adjustments.
  12. Thanks Andreas. I did spend some time thinking about how to achieve this type of ground, for it seems to be quite a different method they used, compared to their contemporaries. With my tests, I found it was easy to take things too far, and get a result which was quite unpleasant and cold looking, especially for the spruce. Maple can look reasonable with many things, but to get spruce to look right, is often where the work is.
  13. This sort of figure comes from the crotch of the tree, where the large branches join the trunk. It is common in a lot of woods, but not chosen often for violins, on account of the inherent instability of the grain. As it shrinks, the back seam usually separates, which can be very difficult to glue back. There can be a lot of distortion from the figure as it ages, even cracks occurring, where parts of the wood are virtually endgrain. On the OP violin, you can see the grain runs at 45 degrees to the joint for a large part of the back.
  14. Thank you. As far as I can, I’ve copied the colour and varnish wear from the original instrument.
  15. The edges were made like that, they haven’t been changed. This type of edgework is sometimes seen on double purfled instruments, but not exclusively.
  16. The performance of the bridge, in most cases comes down to the skill of the person cutting it. You could buy the best blank in the world, but if you don’t know how to get the best from that in the fitting & cutting, it won’t make much difference. As to the grading, I wouldn’t always agree with a certain brands grading standards. Some companies are worse than others in this respect, I often regrade them myself, and at times will send a percentage back as being sub standard.
  17. The violin has suffered a catastrophic accident(s), in the past. The damage probably all happened at the same time, and has nothing to do with the wood being weak. When violins get dropped onto a hard floor, trodden on by a horse, or crushed inside a case, there is only so much they can take.
  18. Not a copy at all, just a violin with a spurious label. From the limited pictures, the violin looks to be French. The sort of thing people optimistically like to refer to as Caussin school.
  19. Graphite makes a useful dry lubricant. If you are going to use a pencil, you want 8b or similar, the softer the better. An HB pencil won’t do much.
  20. The button has been broken off, and by the look of it, more than once. The whole area has a hotchpotch of poorly executed repairs.
  21. An S shaped bridge is quite common on cellos with four adjusters on the tailpiece. The order of events will have been that the bridge began to tilt forward, possibly when strings were changed, or simply from tuning over months, and the bridge was not straightened up. When the tailpiece adjusters are used for all of the tuning, rather than fine tuning, the sticky rosined part of the string gets dragged through the bridge string groove. Being so sticky, and under considerable tension, they don’t slide easily, and usually just end up bending the top of the bridge back towards the tailpiece. The bridge having tilted forwards results in the leg looking bowed out, and the bending back of the top part of the bridge above the waist produces the typical S shape. If you straighten the bridge more often, keep things clean & lubricate the string grooves, the effect can be minimised.
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