Wee B. Bridges

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Everything posted by Wee B. Bridges

  1. Hmm…we still have Strad forms going back to 1689 etc. etc. https://tarisio.com/cozio-archive/cozio-carteggio/stradivaris-moulds/
  2. There should be no question—a quality bandsaw.
  3. They look like fish out of water. Traditional old-time Appalachia musician have been playing with flattened bridges for generations—just saying.
  4. 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.
  5. J.B. Guadagnini did not have an issue 1775 Turin period
  6. For comparison, another example of Dominique Peccatte, visiting my studio.
  7. 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 !
  8. 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.
  9. 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.
  10. What do you do on the pegbox? Typically the same on the ff as the pegbox. I use a burnt umber oil tube paint. Something very satisfying about this task of painting. Maybe because you are so close to stringing the instrument at this point in the game. The ff I typically use a liner brush. https://www.dickblick.com/categories/brushes/shapes/liner/
  11. Its taken 3 pages for someone to post a percentage. I was a little dubious to jump in, however I have always consider the top wood at 75%. One reason we spend our life collecting tone wood—the holy grail of violin making.
  12. Soundpost, soundpost adjustment.
  13. Would that be the same as the “Top Hat Mortise” a characteristic of a early English bow? Is it a Baroque bow ?
  14. Wore me out just jumping through the video. I fail to see the point in this laborious iconoclastic method. maybe I missed something.
  15. RIP Francesco Bissolotti, a cornerstone of violin making in Cremona.
  16. Years ago when Otto Tempel Inc. had a falling out with Dick (German pronunciation: Deek,) now Dictum GmbH—they had a fire sale on all of Tempels inventory. I must of bought a dozen matched sets of fittings (including chinrest). individual peg sets, and extra tail pieces, extra chin rest and endpins. It was a worthwhile investment. You get what you pay for, and then some.
  17. Maybe as innocent as an orientation mark if they used an invisible sound post setter. ;)
  18. Having a quality visual reference can only help— https://www.violinbridges.co.uk/ Michael Darnton has a section on the bridge— see page(s) #17-34 http://www.darntonviolins.com/violinmagazine/book/setup.pdf
  19. spirit varnish requires more coats oil varnish requires less coats
  20. I don’t know if it has been stated earlier—however it will help immensely if you have a finished scroll in front of you for a visual reference.
  21. Varnish it first, set it up with a traditional fingerboard, let it settle in for 6 months. 29.5 projection is not outrages.
  22. Unless you are making a bench copy, I would suggest you shoot for the typical standardization . (Figure 1) shows a violin set up in the modern style. The stop length is 195mm. The neck length is 130mm from the top nut to the belly edge. The neck is set 6mm above the belly edge and the fingerboard edge thickness is 5mm, making a total of 11mm. https://www.roger-hargrave.de/PDF/Artikel/Strad/Artikel_2013_03_Period_of_Adjustment.pdf
  23. Seems like you are getting the picture. A 6mm soundpost I would consider a bare minimum; 6.4 not uncommon to support upper harmonics. There is no need to fight getting a soundpost in place and bugger up the ff sides in doing so.