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Rich

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Everything posted by Rich

  1. Rich

    C-bout Purfling

    Does Hargrave use that method on both the spruce and the maple?....or just the spruce?
  2. I am just curious. Does anyone ever do a C-bout purfling in two pieces (joined at the center of the C-bout? I haven't done it that way but am curious as to whether it can be anything near OK.
  3. I am making a violin with Engelmann spruce top. Would it typically be made thicker than European spruce I have used before? It seems fairly soft and light. What would be the general thinking on this? Thanks, Rich
  4. Excuse my uncertainty. I see it both ways. Which is correct for a violin label. 1. Guarneri model violin............or........... 2. Guarnerius model violin? Thanks if you can clear this up for me.
  5. Thanks for the food for thought. I am thinking "patience" for awhile.
  6. The A and E volume balance is good. The violin has not been played much. More specifically, how would you adjust the bridge or post? I am not sure the post would make the difference on its own especially since the G string seems warm and good. Maybe a thicker, less dense post, but it is already fairly soft spruce. I have little experience in bridge adjustment. It is cut according to generally standard s parameters. I am thinking the answer could be there. Years ago I think I remember reading suggestions how moving the bottom of the post but not the top could affect the D string but I can't find that info anymore. It is interesting because there seems to be almost a reverse wolf tone on the g note on the D string. That particular pitch is the most unappealing. The same strings on one of my other violins is almost too warm and dark, so I am not inclined to follow that line of thought unless it is a bad string. How would you adjust the bridge?
  7. Old Wood 1700 has recommended a bulb. Go to the oldwood1700.com site and click on Ultraviolet Lamp. It shows a drawing of a light box along with their recommended bulb. The bulb is labeled "Actinic BL TL-D 18w/10 I use something similar.
  8. I am wondering if there is any adjustment that seems to help the D string such as bridge adjustment or post or anything in the setup. Especially the third finger on the D string seems tinny (but the G string is ok.) Any thots? Thanks
  9. So, I finished a violin and the G string sounds warm and the A and E sound good. The D string lacks warmth and seems not to have enough body. It is especially evident playing 3rd finger in first position (g pitch). I am wondering if there is something I should consider trying with the setup. What puzzles me is that the g is warmer, and the A and E are nicely bright. Ideas?
  10. I am about to start the Balsamic ground (Robson). I am guessing that I do not put it on the neck but want to be sure. Can anyone clarify this for me? Thanks,
  11. I am wondering what turpentine available in Canada to use with Joe Robson's Balsamic ground and varnish? What will work and what should I stay away from? Calgary is close enough to make a trip there. What is the criteria and which product will work? Thanks, Rich
  12. I looked closer at what I bought and it seems I purchased the standard oil varnish instead of the 1A. Is there considerable difference? I really want this violin to turn out lovely plus I have not put anything on the violin yet. I have experimented with the varnish on left-over scraps of from cutting out my plates on top of a light burnt sugar ground (which seems lighter now than when I first put it on). I can set this stuff aside and order something better, but am not sure I want to try to cook my own varnish. This has been a long time in the making with buying tools and researching each step. I am in Canada, so that might limit my choices. Seems likely problamatic to get Old Wood system here and I am not sure Joe Robson ships to Canada. I would like something with easy-to-follow steps. If there is significant quality differences, I could try the Joha 1A (now that I know I did not end up with what I thought I was getting). What would you do short of making your own?
  13. I am wondering the best way to darken Hammerl 1A red-brown varnish. I would like it a bit darker on the spruce especially to migrate away from a slight lean toward pink. Would it work to mix red-brown varnish with an equal amount of dark brown varnish? These are pre-mixed varnishes.
  14. If I use a burnt sugar stain on the white violin, can I use a gelatin sealer on top? Is it compatable?
  15. I have read several place that I should put paper on the little studs I will temporarily glue on to the top plate to aid in chalk fitting the bass bar. Can anyone tell me exactly where the paper goes? Does it go between the studs and plate, or between the studs and the bass bar? If between the stud and plate, it would have to be glued to both. Also, do you put the end grain of the stud down for a weaker glue joint? What type of paper?
  16. Andrew, Would removing a few of the hairs improve the G string response? It tends to slip ever so slightly now and then regardless the rosin or strings. Thanks
  17. I have had my Roth with the pegs for 46 years. They have always worked great. I never have to adjust them...and have never abused them. I always wonder why people put up with friction pegs. When these pegs die, I will get one of the newer generations of mechanical pegs...eg. pegheads or perfection pegs. I have heard of the bushings needing to be re-glued.
  18. Thanks, I keep the strings clean, usually with a micro-mesh cloth. I did check the bridge. The e-string side was about 3/4 mm closer to the tailpiece than the bass side. I adjusted that (moving the e-string side of the bridge more toward the fingerboard to match the bass side) and it seems to help some. I tried moving the bass side toward the tailpiece to match the treble side, but that did not work. It also has gotten warmer here in Alberta...so there may be other factors at play. My after length to string length is right on a 1 to 6 ratio. Could 3/4 of a mm difference on the bridge distance from the tailpiece make a noticeable difference on its own? It is improved (whether from climate or bridge adjustment), but I think there is still a little ways to go. Thanks for the suggestions. I am open to more.
  19. I checked it again. It is marginally louder.
  20. The E string does seem a bit louder to me...but not terribly so. When I use a sound level meter on the strings, it does read slightly louder. I sort of wondered if it was a peculiarity of the mic that picked up those frequencies more. It is just a cheap Radio Shack meter I picked up years ago. I might have a luthier check the tightness. Cutting or shaving a soundpost is not something I have done yet.
  21. The violin plays slightly more easily if it is more humid.
  22. Thank you all for your replys. The only changes have been the seam repaired and firming up the chin rest since it was moving on me. The problem is there whether it is dry, or more humid. We live in Alberta, so it is fairly dry most of the year. I had a new bridge cut a couple of years ago, but it played fine subsequent to that. The seam glued was to the right of the tail piece as I hold the violin on the curve. It has tended to only stay glued for a couple of years at a time. That is why I am wondering about a post being too tight. On the other hand, a number of years ago, the post must have been tighter since I had a slight soundpost bump. That is gone now. I will loosen the chinrest slightly and see what that does. I checked the string angle after the last bridge was cut and it seemed to be according to the normal specs. What happens if the post is too far right or left? Could the foot of the bridge over the bass bar need to be moved right or left?
  23. The strings are new (Evah's) and the old ones (Obligatos) had only been on a month. The ones before were Visions. Sometimes the violin seems best when I first take it out of the case. I had an open seam repaired this winter. The bridge is fine and I keep the angle carefully correct. The violin has sounded good with the current tailpiece and the current chinrest. I did tighten the chinrest once when it seemed a bit loose, but I think it is just tight enough to keep it from walking. I sometimes wonder if the post is too tight. I do know that my A and E string sound good and play reasonably easily. The post is about a half a post width perhaps from the bridge and the violin shop said it was about as far favouring the bass side as I should put it. Would a tight post cause this yet still allow the A and E to play easily?
  24. For the past year, my G and D strings have been more difficult to play. The bow seems to tend to slip. It has not been fun like it used to be. I have had a rehair and have replaced rosin. What factors would make the playability not as good? It slips less if I play closer to the fingerboard. I really want the old ease of playing back on those strings. The D string plays easier than the G string. The tone is ok, if it would just (I don't know how to describe it) play easier. I have tried Vision, Obligato, and Evahs...all with similar results. What list of factors can we come up with for me to look at? Thanks Rich
  25. So, does anyone know anything about Sidney Yeoman as a Hill bow maker as to his reputation?
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