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About McBenet

  • Birthday 06/07/1953

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    Southern California, USA
  • Interests
    Violin Repair and Restoration

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  1. Half a Million? Cheap at twice the price. I should buy 2 and save even more money. Barry
  2. Sorry I've been off line for a few days. I have and E-violin and several accoustic violins so for me, the issue is not one I've put a lot of interest into, but I do see why you are looking for what you actually want. Personally, if I were looking for something to attach to one of my accoustics, I would consider that almost everyone agrees that a accoustic played into a mic sounds better than one useing an electric pickup and look for some kind of mini wireless mic that I could attact to my chin rest or shoulder rest and adjust so that the mic itself was above the strings and just below the bridge. Although I do not know the quality of THIS particular wireless mic, I would experiment with something like this: http://cgi.ebay.com/Mini-Black-Headset-Mic-Sennheiser-Wireless-EW-G2-G3-/350468816354?pt=LH_DefaultDomain_0&hash=item519991bde2 This (or something like it) MIGHT give you the best of both worlds, maybe. Good luck, -----Barry
  3. Without endorsing any of them, try looking at these: Audio Technica, DPA, K&K Silver, or the Autio Technica, LR Baggs. Google will turn up even more. -----Barry
  4. I live in So. Cal. and every music store in town from the little independent guys to the Guitar Center and Sam Ash has them. Can even find them in most of the Pawn Shops. I'm sure there is a store somewhere in Louisiana that has them. Certainly New Orleans or Baton Rouge would have stores that carry them. You can also find them all over eBay. -----Barry
  5. Steph, I have 4 kids, all of them exactly like me and yet completely differrent from each other. From the day he was born, my oldest son wanted to be like me, do what I do and copy everything I did verbatum. I apprenticed him in my trade and taught him almost everything he knows. My 3rd child is almost impossible to teach anything. He is bored, does not listen and will not follow directions. I honestly came to the conclusion that the only way he will learn anything that "I" know how to do, is to learn it from someone else with absoulutly no input form me. I don't know if he is worried about measuring up to the old man or what. I have found that if I find someone else to teach him anything, it works best and it works even better if someone else teaches him to do something that I have absoulutely NO knowledge of at all. For this one, I beg, pay, kiss butt, use my connections, twist arm and in any other way possible; ingraciate myself with people who can teach him whatever it is he needs/wants to learn. Because you already play, the cello might not be the right instrument for this child and you might be too much of an expert for the Suzuki method. Remember, there are millions of kids who learned to play musical instruments without any help from their parents other than payment for the lessons. I know, it hurts when they regect your expertise, but I have come to realize that their growth is more important then my ego. Results are what count. -----Barry
  6. The Weisshaar & Shipman "Violin Restoration" book is about the best for the money. You can find it here: http://www.weisshaarrepairbook.com/index.html Looking at the later photo with the string, it is difficult to tell because of the placement of the string. Place the lower end of the string in the middle of the saddle and hold the upper end of the string in the middle of the neck at the top where the nut would be and then you will have a much better idea. You may not need a new neck after all. -----Barry
  7. Interesting, but then there is David Crosby of Crosby, Stills, Nash; who left home at 16, joined the Merchant Marines and never touched an instrument until he was 25 when he walked into a bar in San Pedro, CA and heard a guy playing Folk Songs on "Open Mike Nite". Then there is also his oldest son who was put up for adoption at birth, didn't know David Crosby was his real dad until he was 30 years old. He was raised by a Christian Minister who has ZERO musical ability, taught himself to play guitar, drums and the keyboard. He now plays keyboard for Crosby & Stills AND writes a great deal of their new music. Just sayin ...... -----Barry
  8. There are stories about a prodigy who grew up with every advantage and there are stories about a prodigy who was born a bastard child into abject poverty and had to sneek into a church or school at night to play a piano or other instrument that no one wanted them to touch. I think the problem with this subject is "what can WE do in order to get credit for someone elses talent?" It must be wonderfull to be on te edge of the prodigy's talent and horrible to watch another waste theirs. In truth, I think that most of the time, there isn't a lot any of us can really do except constantly encourage those we can, to become the best they can. Prodigy or not. -----Barry ^edit for grammer
  9. The "line" certainly appears to be there. Expanding the pics to 400% also shows a "line" above the end of the A peg. Without seeing both sides of the peg box it is diffult to guess, but possibly the treble side of the peg box was replaced(?). -----Barry *edited for spelling
  10. Assumeing the ribs are glued to the bottom plate and properly spaced around the edges, I would take a piece of 1" thick plywood (one side covered with masonite) about 8" longer and wider than the cello body and cut a cello shaped hole near the center which would allow the edges of the bottom plate to be clamped to the plywood and allow clearance for the bottom arching. Start by clamping the upper and lower blocks and then check to see if there is any warp or twist in the bottom plate. If there is, clamp the 4 corner blocks and straighten the back plate going as slowly as necessary to avoid any damage. This may require a humid environment and take several days if the plate is badly waped. At the same time, the top late should be checked to be certain that its bottom serface is also flat. If not, either clamp it to a 1" plywood base and judiciously introduce humidity or sand/ plane the bottom surface, as prudence dictates. Once the back plate is determined to be flat, clamp the edges of the plate to the plywood base useing small blocks with a "step" notched into them and covered with leather (to prevent damage to the plate edges) and remove the clamps from the 6 internal blocks. Now check the ribs to see if they are perpindicular to the plate and the plywood base and then set the top plate into possition and check edge distances. Make note of where the ribs need to be moved and by how much. Attache pillars to the 1" plywood backing plate, arranged around the cello in any areas wher the ribs need to be moved. If the rib is leaning in and needs to be moved out, use a clamp to pull the top edge of the rib towards the pillar block. If the rib is leaning out and needs to be moved in, use two wedges turned opposite directions to oush the rib away from the pillar. Judiciously introduce humidity to allow the wood to flex and then "set" into its new position. Go slow, protect all finished surfaces and remember that any time you move something in one direction, something else wants to move in another direction. Check everything before final glue up, check it again and then re-check it. -----Barry
  11. Lyndon, Short and sweet. One of your best. M36, Sorry I can't be of any help with the identification. Under the best of circumstances, identification and attribution is a very fine art and a highly honed skill that saddly I do not possess and neither do most of the people in the violin world. There are a few on this Forum that are qualified, and I have learned that they almost never say anything about "trade fiddles" and only weigh in when they see something truly interesting. Their silence usually speaks as loudly as any statements they chose to make. My previous opinion stands. "...nice little violin, not expensive, but nice". -----Barry
  12. M36, I'm sorry you feel as if you wasted anyones time. Unfortunately, some of the members here are "a bit curt" because they sometimes think that everyone else should already know what they know. The "blocks" on the lower corners of your violin are not "real blocks". They are "fake blocks" that are often installed on lower priced violins to make them look higher quality than they really are. If one looks through the ff holes or through the lower end pin hole, the upper corners can not be seen and the "fake blocks" look to be "real". I think Mr. Johnston may have been trying to be facetious. I would honestly say that if someone who should know better were to tell me that "those" blocks "were nicely made", I would probably not say a word in response, turn around and walk out the door and never do business with them again. Other people may have a different reaction, but that would be mine. If you wish to stick around for a while, there really is a wealth of information on this forum and quite a few people who really do know what they are talking about. It takes a little while to figure out which ones are which, and also to determine who is being humorus and who is just being curt, but this is a great place to get an education. Having said all that, nice little violin, not expensive, but nice. -----Barry
  13. Since replacing the fingerboard has been rejected by the customer, and they appear to be prepared to pay a reasonable fee to maintain the original fingerboard, and since water will probably destroy the orinal inlay, I would make a counter form and clamp it down with hot sandbags. I'd do it over several days or several weeks, whatever it takes and then repair the cracks mixing lots of wood dust (ebony?) into the glue. Clean it up with a little bit of buffing and I think the customer will be happy. -----Barry (edit for spelling)
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