Dave Slight

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Everything posted by Dave Slight

  1. It is different, which is partly why I wanted to use it. I’ve also got some really nice birdseye maple, which I might use a piece of soon.
  2. It could depend where you are in the world. I deal regularly with a large college, which has a lot of international students. Those students don’t understand inches, and I now refer to violas in cm. It’s easier all round.
  3. Thank you very much, Thomas. No, I don’t get it from there. If you wish to try out some different types of purfling, it can be quite easy to make, if a bit messy. You only need a piece of pear, holly, boxwood, or whatever you fancy, which is long enough to go round the bottom bout from corner to corner. If you join you purfling at the centre, you could use a much smaller piece. For one instrument, veneers 20mm wide will be sufficient, you can make them to your own desired thicknesses. If you happen to have a glazier nearby, some offcuts from shop windows make excellent cauls for gluing the veneer sandwich together. They are very flat, heavy, and easy to clean up. Gently warm up the glass a little, wrap cling film over the face, and place it on a flat surface. Tape the veneers together at one end, brush glue over the first black, lay the centre piece, brush on more glue, and press down the final black with a wallpaper roller. Wipe away the excess glue, and apply tape to the loose end, another piece of cling film over the sandwich, and finally the other piece of glass over the top. You can put a few light weights on top just to hold things. After about 6 hours, take it out and remove the cling film, replacing it with kitchen paper, and put it back between the cauls. If you do not do this, it will twist and curl up. If it stays wet too long, the colour can leach from the blacks. Once fully dry, straighten one side with a plane, then use a cutting gauge or knife to slice off your strips.
  4. Colophony/amber/linseed. Sometimes colophony/linseed Thank you. Well spotted, it is indeed pear.
  5. Thanks chaps I’m hoping I’ll do it justice, when varnishing. Please don’t cut yourself Andrew, at least not on purpose!
  6. I would suggest you need to get this looked at promptly, and should contact the maker at your first opportunity. Unattended cracks are only going to do one thing ultimately, and that is eventually get bigger. The neck block area on a cello is highly stressed. I don’t think anyone is going to be able to answer your question without seeing the cello in person, photos are of limited use in this instance.
  7. Only Goldflex has gold particles in. The other is plain rosin, slightly softer and not too dusty.
  8. It will depend on exactly what needs repairing. It may be worth setting up, but will not be worth extensive repairs, especially as it seems to have been stripped and re-varnished. This always affects negatively, the value of antique instruments.
  9. I’ve seen and sold quite a number of Garners bows over the years. Never seen one which wasn’t Pernambuco.
  10. Dave Slight


    Sounds like something a criminologist could investigate...
  11. Most people would classify the OP bow as Brazilwood, rather than Manikara. If you told the species of wood to a player, I’m sure they would just look blankly at you, having never heard of Manikara before. Brazilwood is a useful term, as musicians have heard of it, and it’s different to pernambuco .
  12. Hopf branded trade violins aren’t my area, but they are one of the most distinctly recognisable German violin outlines. Simply changing the brand (I have never seen one branded hope before, and wonder how common this actually is), would not seem sufficient to distance it from it’s obviously German origins. The idea that this would make them more valuable, or saleable seems total nonsense.
  13. I do not know. Maidstone varnish isn’t something I’ve spent much thought on.
  14. The worm holes in the fingerboard were probably there before the ebony was even cut into a blank to make it from. The species of beetle which can eat ebony, seems to be a tropical one, and certainly in the case of a violin, there are much easier woods to eat, which would contain more nourishment. This varnish degradation happens with an instrument being left in a loft for example, where each year the atmosphere changes from extremes of damp, baking hot, dry, and freezing numerous times. Thick and glassy varnishes can be hard and brittle. Eventually with the continued shrinking and expansion of the spruce, it starts to become detached from the wood, following the grain. The maple parts never seem to be affected to the same extent, or at all. Later commercial spray finishes, such as nitro cellulose can completely flake off over large areas. These do not stand up well to poor storage conditions.
  15. In general, wood shrinks such a small percentage along it’s length that it can be discounted as a factor here. The back and belly both shrink across the width, the ribs don’t shrink. From this stress, the ribs will start to bulge (they are effectively forced into a longer and narrower shape) near the end blocks, eventually popping the seams open. You will then find that you can’t push the ribs back into position to glue them. Over time, the disparity increases. The ribs will eventually exceed the margins of the belly and back, requiring them to be shortened, along with the linings, in order to restore the correct amount of overhang. Larger instruments suffer from this much more, so if you want to see it for yourself, an old cello is often a good candidate. Look either side of the tail block. In extreme cases, the stress can start to crack the ribs at the edge of the block.
  16. Not around this area. I’ve only seen one in twenty five years.
  17. I have a violin here which is made from mahogany (by a cabinet maker), salvaged from a piece of furniture in a famous building. It has a spruce top, and the sound is reasonable. Being plain mahogany, it looks achingly dull and quite unappealing.
  18. Hi Andreas, I’ve not experienced this personally, but I think the humidity levels in our respective countries may be very different. Hope your mood got better over the weekend
  19. No. This isn’t really the way that shrinkage, or natural movement of the wood happens. It’s never one way first, then another direction later.
  20. Do you know who cut this one for them?
  21. It would seem a rather odd career path if this was the case.