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cheapjack's Achievements


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  1. Just an anecdote on the subject. One day (42 years ago) a J. B. Guadagnini had the top off in the shop. We found that a now long gone venerable "pro restorer" had written his name in ball point pen on the underside of the plate. That would have been a difficult gatekeeping job.
  2. I use a counterpart when it works. I also eat white glue, which I understand isn't allowed.
  3. I do it exactly like Doug, except I have replaced that dental rubber with very thin foil. My estimate takes into consideration that the form will be made for the individual plate, heating and pressing the sand, scraping away at the hydrocal and re-pressing for each correction. My estimate sheet is from what I was paid at the bench for the task. An hour for plate casting and correction seems insufficient to me.
  4. First off I don't do customer work, I only work on my own instruments and I wouldn't own this one. Would you agree that each job uses the methods determined by the requirements? Maybe you are thinking that a cast is required for the post patch. I would use a counterpart if possible which is included in the estimate of the post patch. What if the crack could line up with cleats, would anyone still do a cast? As pointed out the crack could be a real pain and require tacking on more hours. My point was not to estimate the repair work needed and cost, but to bring into the discussion the fact that the cost of the repair is rate multiplied by time. I gave an example of generic tasks and typical hours. Jacklink wanted a ballpark figure and from my point of view it would not be LESS than 11 hours. If it requires a mold add 4 hours minimum. The time and rate are the variables.
  5. Surely, plus more time if making a mold, bridge or a new sound post; not to mention if the retouch is wanky. But for the generic tasks I quoted I believe it's ballpark.
  6. Your estimate in a shop should be based on how long it takes to do the job. If the job is: top off, post patch, cleats, top on and retouch; then I would expect 11 hours. Perhaps someone would care to share their hourly rate.
  7. From the limited photo view of the lower ribs it appears the margin has been lost and a rib is cracked. It may be a top off, block replacement and rib repair to that area. Bring smelling salts when you get an estimate.
  8. This comment lifts my heart. Many of my collected "good" instruments have been restored and gone off to auction. I still have a barrel full of old stuff that is in really sad condition. I tried to apply myself to putting some of them right but it just began to seem like too much work what with bad necks and no corner blocks. I always thought the weight would be "wrong" if the corners were missing. I think I'll fish a couple of those old things out and re-think it. What about the necks? Makers instruments get a new neck. I have considered buying pre-made neck and scroll for about $30. A graft doesn't make much sense here.
  9. I have a question about fixing this type of instrument. Do we employ the same methods for restoration of a "conservatory" as we would for a good makers instrument? If so then the ratio of time spent to monetary compensation drops to the point where my family eats ramen for every meal. If different, faster methods are employed then where is the book on those skills that do not "irreversibly ruin it"? I have worked on methods to add good corner blocks where they are missing, putting the neck and board right and all the things that make it nice for a student, but in the end I am much farther ahead spending my time on a well made fiddle. If the goal is to improve one's skills, then that is a horse of a different color.
  10. It's just a crappy conservatory fiddle. I guess Gustav thought he would improve the tone.
  11. I hope I look this good when I'm 104 years old.
  12. I use Behkol only you can't buy it in gas stations like everclear. Always using Behkol is a type of alcohol habit I guess. The next state over doesn't allow sales of everclear and I suspect many other states are the same.
  13. I agree. Violin makers and restorers tend to be hungry consumers of information and Fry did have an acoustics lab in Madison were he worked on violins for over 20 years so I only put it out there for anybody who has nothing better to do. He is another in a long list of people who discovered the secrets.
  14. Jack Fry was a nuclear physicist at the University of Wisconsin who studied violin acoustics. If you are unfamiliar with his work it might be worthwhile to check it out. He talks about the particular importance of the length of the bass bar and how the "tounge" affects the wood fibers of the sound post. I am not endorsing his ideas but I find them intersting. I knew him and he told me that a harp is a "Fire extinguisher with strings" so I took him off my festivus card list. https://www.youtube.com/watch?v=c8-rOvWeV8k at 40:00 https://www.youtube.com/watch?v=3A3_dmNs4Wg at 47:50
  15. Yes, I meant to quote violinsRus on my post but my mind wandered. Your J G is less terrible.
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