Mason

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About Mason

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    Junior Member

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  • Gender
    Male
  • Location
    Minneapolis
  • Interests
    Cats and kittens... Some puppies and dogs are pretty cool too.
    Mazda Miatas, obviously

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  1. I have 2 very lightly used bowed acoustics endpins. They include brand new delrin cones. $250 each/obo plus shipping if you buy both I’ll cover shipping. I prefer texting me directly. 651-890-6683
  2. I'm open to reasonable offers.
  3. Here is some stuff for sale. Juzek caliper- larger size for cello-SOLD holtier varnish. Dark is between 1/2 & 2/3 full. Clear is full. Old wood tube colors. Madder lake red is unused, madder lake brown red is very used, but there is plenty for multiple instruments left. I plan to include the brown red with the sale of the red.-SOLD Veritas convex sole squirrel tail plane. Dremel purfling jig-SOLD ibex purfling marker-SOLD old wood siccativ. SOLD Text me for fastest response. Make an offer on any or all of the items. 651-890-6683
  4. It isn't exactly a good 3D model, but it's just as quick to make a foil rubbing as a pencil rubbing, but you get more information. You can make a pretty accurate template photocopying the foil, and a more permanent reference by casting it in plaster. This is from a Testore cello that I only had about 10 minutes to take measurements. In this case I was mostly interested in the f-s, but I did get partial c-bout and corner with it, which also shows the purfling and edge details.
  5. I'm not sure if something like this is what you mean, but Andrew dipper showed me this quick and easy way to make a 3D copy of f-holes. Basically you put a piece of aluminum foil over the part you want to copy and rub it with a soft old toothbrush to create a depression in the foil. You can then photocopy the foil and make a template from the photocopy. You can also cast the foil in plaster for a more permanent copy. I'll try to upload a photo later
  6. while these observable setup idiosyncrasies might not be the cause of your sound issues, they might be preventing you from getting an accurate representation of the sound. As far as the alignment issue I pointed out, the photo is obviously taken at an angle, but the strings are centered over the fingerboard. If you move the camera to a more straight on angle, where the strings are centered between the f-hole lobes, the strings will no longer be centered on the fingerboard. It might not be a big deal, but if I had the instrument in my hands it would be something that I'd try to figure out
  7. Why would you exclude these important factors? You shouldn't assume it's not a setup issue just looking at this photo I see there are some potential problems. it looks like your bridge is south of the mensur, which I'd guess means your post is just as far south in relation to the bridge. The bridge also looks a little crooked and the top surface of the bridge isn't an even thickness, the edges are thicker than the middle Also, either the bridge isn't properly centered or the fingerboard or neck aren't straight, or possibly a combination of both. Thats just what can be
  8. I think the luthiers library has this instrument... all the instruments have really good measurements, photos and laser scans of the arches. www.theluthierslibrary.com
  9. Here are a few links I found that mention models he used... I guess according to the Kerr article he made closer to 3,000 instruments, that's insane! https://tarisio.com/cozio-archive/browse-the-archive/makers/maker/?Maker_ID=141 http://www.kerrviolins.com/violin-link-craske-george-1880-10012046.html This strad article is probably the one I got the 2,000 number from... but I guess that's just a hypothetical number. https://www.thestrad.com/from-the-archive-a-craske-viola-c1860/2364.article
  10. I had a small stack of articles on George Craske a few months ago and one had claimed he made over 2,000 instruments with no assistance.
  11. I have seen makers put a copy of the original label, then their own label in another place. I think that's a less low end looking alternative to let players know what they are looking at. But generally I tend to agree with Johnmasters I recently saw a Roger Hargrave violin that was a copy of a Peter of Venice, but the original was later attributed to another maker. I don't remember the exact details, but it was a beautifully executed violin either way.
  12. My "map" wasn't so large until a few months ago... but that map never really surprises me. i suspect if I were "the boss" of the shop our definition of conservative would probably be pretty similar.
  13. Ha, yes that is an extreme example, but I have seen bassbars placed all over the map and it's something I pay a lot of attention to. Most of the bassbars I have replaced have been because of damage and/or placement. I take a very conservative approach when deciding to take an instrument apart and change a bar because of position alone, but sometimes less invasive solutions don't achieve the results the boss was hoping for. in my own instrument making, placement has a higher priority than shape, but my instruments aren't winning any awards, so take that into consider
  14. This is just an observation, and on instruments my employer has acquired, not customers instruments, tho I note placement of the bar when replacing a customers bridge or post. There is a range of standard full size bridge widths that can accommodate many bassbar placements, and I usually refrain from replacing a bassbar on the assumption that it's a bad placement because a violin could sound fine with a 38mm bridge overhanging the bar by 3mm, but it could also sound more like a 3/4 violin... as I stated above it's just an observation that I've noticed I replace more