• Content Count

  • Joined

  • Last visited

About TimRobinson

  • Rank

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location

Recent Profile Visitors

10268 profile views
  1. A couple of years ago I bought an octagonal Otto Schuller violin bow in flea market for $9, seemed good buying. I had forgotten about it until very recently when I decided to try to learn to re-hair. It is also stamped GDR which I presume means it is post ww2 factory product. Does anyone know anything more about them? Thanks, Tim Ps- if I'm wrong and it is in any way a reasonable bow I won't touch it!
  2. Not one that I made, bu I have an Anders Neilsen violin of 1926 which is Tasmanian Blackwood on the back and ribs (the most stunning bit of blackwood I've ever seen), and a pine (King Billy or Celery Top?) front, myrtle (?) pegs. I don't have decent photos - it really doesn't photograph well - but it is in Alan Coggins' book. Beautiful but sounds like crap. I have seen its sibling, smae year same log for the back, but with a "proper" front - sounds like a reasonable violin. Tim
  3. I had a horrible feeling someone had done this, and I was right. Tim
  4. In Cambodia they turn pushrods from the zillion motorbikes into quite decent gouges for carving. (Sorry, I know this is irrelevant). Artisans Angkor Tim
  5. Not wanting to be a nark, but do you really mean a con rod? Gudgeon pin makes more sense and seems a good idea. Regards, Tim
  6. There is an exemplar in Australia: https://abcviolins.com.au/book.html I know I'm biased, but it shows what can be done - but, as all recognise, the work load is significant. Not unlike violin making, very few people write books or do research to become wealthy. As to photos, in this case the author as well as being a maker, became the photographer with excellent results. Tim
  7. Possibly because I'm over cautious about storage materials I'd consider washing it in distilled water before use - just to remove any water soluble contaminants from the manufacturing process and to ensure the dyes aren't water soluble. Tim
  8. In relation to question about polyester, I'd ask a conservator in a major museum that houses such instruments - the Ashmolean springs to mind. This comes from the V&A website and is good advice for storage of objects generally: Mitigation Ideally, museum storage and display environments should be free of all reactants that can interact with objects. This ideal is not (usually) a realistic expectation: many artefacts may be sources of corrosive agents that will interact with other objects. Anyway, increasing access to objects inevitably increases the rate of their degradation, if only by exposing them to radiation necessary for them to be seen and keeping them in climates that are appropriate for visitors. Approaches to ensure that unacceptable rates of chemical interactions are not encountered in the storage and display of artefacts include: Use only inert materials in the construction of containers (avoid the problem) Use protective films to contain any sources of reactant species – by sealing materials that are known to be a source of corrosive agents or to provide a protective film around the artefacts themselves (keep the problem out) Use sacrificial materials preferentially to react with the corrosive species. See: http://www.vam.ac.uk/content/journals/conservation-journal/issue-44/materials-and-their-interaction-with-museum-objects/ Tim (An archivist for 40 years)
  9. In many ways Harry got me into making (I am a rank unskilled amateur - no reflection on him at all). He repaired an eighteenth century Saxon violin we had in the family. A great and fascinating talker Harry gave me one of his old moulds when I said I was interesting in making a violin. He subsequently made my youngest daughters' violin which is the example of his work in Alan Coggins' Violin and Bow Makers of Australia. I think it was number 725 - an astounding number. I have never met anyone as skilled with their hands. A national living treasure. Tim
  10. Hi, A story from the Sydney Morning Herald on Oz making legend Harry Vatiliotis: https://www.smh.com.au/business/workplace/a-violin-maker-who-puts-his-heart-into-an-old-fashioned-craft-20190203-p50vco.html As always, not everything you read in the media is 100% accurate. Regards, Tim
  11. This is the thread from many years ago about the only maker I could track down then: Tim
  12. Some years ago we were in Vietnam and in the paint and varnish street in Hanoi there were lots of resins etc very cheap. However, I didn't think it a good idea to try to bring bags of white powder through customs in Sydney. Have a great trip. Tim
  13. Surely the use of power tools by a maker increases efficiency, reduces person-hours and so the cost of making, resulting in more instruments produced in the same time and then sold at a price undercutting the competition. I know of one very successful maker who used this business model. The quality of the product has never been seen as an issue by the target market. Regards, Tim
  14. M(ade) IT(ALIA)? Tim PS - If it were I would really have expected "Fecit Italia" or similar.
  15. Would heat from the tip of a soldering iron applied to the end of the nails assist in removing them? You'd need to be careful not to scorch the varnish or timber - possibly a heat shield with a small hole for the tip? While not on a violin, I bought a very handsome 19th century brass backed saw with a brass strap repair to the broken handle. I was going to remove the old handle and make a new one, when I thought I should preserve the integrity of the repaired tool and the skill of the repairer, which I did. A clean and sharpen as it was a good as new, and it tells a story. Tim