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Wee B. Bridges

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Everything posted by Wee B. Bridges

  1. Doesn’t David Bromberg specialize in American made, he is on the east coast as well... https://www.davidbrombergfineviolins.com/
  2. Has Nathaniel Rowan name been mentioned yet...he has made some custom fiddles. If you don't see a can of spray paint at the hardware store you like maybe N.R. will share some ideas with you. (photo credit: Jack Magee)
  3. As suggested above, glue on some scrap pine or some such— and then square it up:
  4. https://www.dictum.com/en/ https://www.cremonatools.com http://www.hocktools.com
  5. Ha ha— Never seen it done this way before—like they did not quite have it figured out or 'artistic’ license (?) A real homemader...
  6. A good starting point for your analysis... If you have access to a local library, you may find a interesting and insightful read in a back issue of The Stad Magazine, March 2006, "Trace Elements" by Joe Grubaugh & Sigrun Seifert pp. 42-48, with special attention to pg 45.
  7. Personally if you are satisfied with the sound, I would not worry about it. The only concern cleaning with a rag to not get snagged and inflict any damage. Typically in new construction we lower that leading edge of the wing during the carving ( à la Stradavari) so as to not have that scenerio present itself. ref: Secrets of Stradivari - S. F. Sacconi
  8. There is no advantage being a self taught maker/repairer— go to a violin making school and get the proper training. Think of it as kindergarten with papers. Go from there.
  9. Hmmm... Any violin making book will contain information on peg whole placement, I would suggest studying up on the entire concept. http://www.weisshaarrepairbook.com/overview/ https://www.cremonatools.com/the-secrets-of-stradivari-s-f-sacconi.html
  10. Otto Erdesz used douglas fir... https://josephcurtinstudios.com/otto-erdesz-remembered/
  11. In new making the final arch hgt in the classic 'tradizione Cremonese' is typically established as you carve the top arch first, therefore the un-excavated flat bottom measured with your dial calipers, is this total thickness —before you begin scooping out the inside—so yes this would include the plate thickness at this point.
  12. Bois d'Harmonie: Home Some discussion on fittings: https://maestronet.com/forum/index.php?/topic/329900-more-on-the-messiah-strad-le-messie/
  13. Or proped at an angle and that is all that is in there.
  14. Hmm…we still have Strad forms going back to 1689 etc. etc. https://tarisio.com/cozio-archive/cozio-carteggio/stradivaris-moulds/
  15. There should be no question—a quality bandsaw.
  16. They look like fish out of water. Traditional old-time Appalachia musician have been playing with flattened bridges for generations—just saying.
  17. General speaking, if it is a single string I would think soundpost adjustment. If it is more than one string, ie top register vs lower register I would think bridge adjustment (carving) to bring it into balance.
  18. For comparison, another example of Dominique Peccatte, visiting my studio.
  19. Davide Sora said: "For pegbox I use the same varnish than the rest of the violin, just a little darker to have some contrast. For F holes acrylic black paint (opaque), the same that I use for scroll chamfers :" Molte grazie !
  20. Did you look inside the fiddle? Maybe there is honey poured in there as well to make it sound sweeter—Don’t knock it till you try it.
  21. Typical to be polite and make a postive comment. Often times you have to prod a little deeper to get the honest and full feedback— this is how we learn. If it is a single note in question— a sound post adjustment can be made in an effort to bring out a more balanced sound.
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