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Everything posted by rgwebb6

  1. Thank you for the link. Much appreciated. I haven't had time yet to delve into it, but it looks very interesting.
  2. So, getting back to the original topic , does anyone have any ideas on where to find info on an in-bridge vs under-bridge piezo? Or how under the bridge piezo is mounted? Or what is electrically connected to what in an electric violin? You are all concerned about age. Well I'm 79 in June and don't have all that much time left to get the answers I'm looking for. Just kidding, but I am really curious if there is any of this info out there.
  3. Great info. Thanks. But I still need to see some info on how the pickup is mounted and how the pick up, preamp and volume control and headset or amp jacks are all connected and installed in the body.. I know it's all simple if you know how. Not so, if you don't.
  4. I would like to make an electric violin, but can find no plans on the net. I realize that they can just about look any way you want them to, but I don't really want to design from scratch on a probable one time shot. At least not from scratch. Maybe just alter as I go. Plus I have no idea about the electronics and how they are built in. Does anyone have any ideas on where to look?
  5. Thanks. Why didn't I think of that. Age I guess. It's been years since I made the ones I play and at 77.... well. I tried chisel, scraper, sandpaper, disc sander, you name it. For some reason file never jogged the synapses.
  6. I am trying to reinstall a violin neck I broke out to make repairs. I cannot get the bottom of the neck root flat so I can add the required new wood to it for the right height and angle. Any suggestions? How is it done?
  7. I have downloaded a piece from iTunes store called "Serenade by George Shilling, James Foster and Femi Olasehinde". It is a cello solo piece and I would really like to get the cello and piano sheet music for it. Is anyone familiar with it and can you head me in the right direction to get what I am looking for? I can find nothing on the internet.
  8. Thanks to everyone. I've been away from the computer since I wrote the question so have been unable to reply. I have carefully tested to see if there is any chance I might be touching the E string in the changeover from D on the A. It happens when I am absolutely positive I am not touching the E. I have Helicore strings on so I guess I should try a different E. I'll see how that goes.
  9. I can't remember if I have seen this addressed before or not. In fact I may have asked it myself. That's ok, I'm old enough to forget things. My problem is that I often get a whistling open E string when coming from the D on the A string. Coming from anywhere else the open E plays great. Is there anything I can do to eliminate the problem, and is this a problem for anyone else?
  10. Thanks for all the input. I ended up marking the A and C bridge points for a 5.5 and 7.5 mm fb height respectively and connected them with a 43 mm arc. It now plays and sounds, IMNSHO, very good. Thanks again. A related question........ what is a good starting position (distance) for the sound post behind the treble bridge foot?
  11. I cut my first bridge too low and also had a hard time playing on the D string without hitting the A of G. The new bridge is too high. I have 7mm under the A and 8.5mm under the D and G. Depending on how I measure the C it is 9mm perpendicular to the flat of the fb or 11mm straight up and down. How is the C height supposed to be measured and what are the accepted heights for the 4 strings? With the strings as high as they are playing on the D is not bad in the lower positions, but impossible farther up the fb, when the D is depressed and the high A and G are not.
  12. I think I'll go with the hazmat idea. If I had a boat........ nah, too much time involved.
  13. What is the accepted method of disposing of unused dichromate solution once your violin is stained? I think it can be saved and used again, but I have some that I mixed with a quart of water instead of a cup and I have something from years ago that I think is dichromate but I'm not sure. I would like to get rid of the weak and unknown solutions safely.
  14. The standard way to break out a neck is to saw in at the button/neck-root line all the way to the ribs. Then saw down each side of the neck root all the way in to the top block. Then karate chop the side of the neck to break the glue holding the base of the neck to the top block. It is a scary job if you are not used to it, but it works well and it worked well for me this time. It came out clean without breaking the ribs. Last time I tried it was on a 3/4 violin and I was not careful to saw all the way in to the top block. The result was damaged ribs.
  15. Just to let you all know what happened with my cello with the 90mm projection. I took everyone's advice and broke the neck out and reset it at the right angle. I now have it finished in white and even though I can't play the cello, and even though I am trying it out with one of my violin bows turned extra tight, in my biased opinion it sounds really good. I am going bow shopping today. Thank you all for insisting that I do it right.
  16. I understand. Thanks. There is a little space at the top of the mortise which was always there and which I had planned to fill with a small wedge. I asked the supplier what the height of their bridge blanks were and he said most were 103 to 105mm. I may just continue and work with the 90mm projection height and see what happens. If it is totally unacceptable when I get done, I can always go back and either try a thin shim under the nut end - try sanding down the front end of the glued area of the fb - or (God help me) actually break the neck out and start over. As I've said in prior threads, It is the only one I will ever make, it is for me only, and I do not know how to play a cello yet. Although I plan to learn and do pretty well on a violin. I did break out and reset the neck of one of my 3/4 violins once, but I don't know if I have the guts to try it again and on a cello. I am not sure about a shim at the nut end. It sounds reasonable, but I am concerned about the added thickness of the neck/fb combo, and my ability to make an accurate shim. I am also not sure about sanding the front end of the glued area of the fb in a ramp from the nut. That sounds like a prescription for diseaster in trying to make it a steady flat ramp that will still mate perfectly with the neck.
  17. Is a cello neck removed the same way a violin neck is? Cut in above the button - saw down the sides - and hit the side of the neck? Or because of the greater size of the glued surface is something else needed, like alchohol down behind it? I'm concerned about loosening the top block also by using the alchohol. Or maybe remove the fb and work a hot pallet knife down from the top?
  18. What is the negative side of leaving it?
  19. I just attached the neck to my new cello. I had a good height of 80mm and clamped it up. I went back a few minutes later after checking the line up with the center line and remeasured to projected height and found it to be 91mm. How much trouble am I in? I am assuming it will pull down at least a couple of mm when it is strung up. But I am pretty concerned right now.
  20. All good information. Thanks for the replies and advice.
  21. Yes, that slicing motion is pretty much what the skewed chisel does for me. I'll give it a try with a smaller straight chisel also. Thanks. So far I only gotten down to using a 100 grit, but I plan on trying the 80 also.
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