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  1. Brad, you are right if one of them is reverse-threaded. Then it's essentially like a turnbuckle.
  2. That's a cool idea. Just to be clear, it'll only work if the insert's outer thread is a different (probably coarser) thread pitch than the eyelet's (and the insert's interior) thread pitch.
  3. I didn't answer earlier, Ernie, because I don't have the violin one. I do have one on/in my cello, and I find it to be very useful. Actually, I've had two. In my first one, the tube contraption came apart after a while. But they promptly replaced it with no fuss, and the new one has been fine. I definitely did miss it while getting by with the old button-style wolf eliminator from the time my first Krentz went bad till the time I got the replacement one.
  4. Thanks! Beautiful texture following the flames on the back at about 12:38!
  5. JoeDeF

    Reshaping neck

    The recipe posted here by Matthew Noykos is straightforward and works for me: There are some good ideas by other participants in that thread as well....
  6. Thanks for the recommendation, Peter. I did some initial reading about the concepts, and it looks like they will be very useful in a variety of contexts going far beyond shop size and layout.
  7. Why make it when there are so many jars found in attics available cheaply on eBay?
  8. JoeDeF

    doctor+ violinist=

    You can imagine how it could go jumping out by watching this (though the little bugger is well controlled in the video):
  9. It sounds like the remaining sawdust after your instrument collapses. Spalting is a web of competing fungal colonies, all of which are (or were, if the wood has been dried) munching on the wood and severely weakening it. In terms of instrument use, spalted wood is primarily found on the showy but not really structural tops of electric instruments, where the underlying (non-spalted) wood does most of the work both in resisting string pull and helping to determine acoustic impedence (controlling how much of the string's energy is absorbed by the rest of the instrument). When spalted wood is used for tops of electric instruments, it is often saturated with CA glue or a penetrating epoxy to strengthen it enough to retain its shape and integrity during the life of the instrument. Some spalted wood is soft enough that you can easily dig it out with a fingernail.
  10. I think he specialized in electrics….
  11. I would guess that the extra "ears" are in effect resonators designed to suck up and dissipate high frequencies before they get to the corpus, to mellow out the sound. Is that correct?
  12. In many cases, don't blame the maker -- blame the eBay reseller who stamped the stick!
  13. It would be good if you could figure out why your glue joint failed before trying again. Were the mating wood surfaces “perfect”? Is your glue high quality? Did you overcook your glue? Did you have the glue at a good viscosity for a permanent joint? Was the wood heated? Was the room hot enough? Did you get your clamps on quickly enough? Did your clamps draw the joint tightly? Did you let the joint fully cure before you started roughing it out? I would find an old (meaning not new or green wood) 2 x 4 (framing timber) and practice making joints on that. After you prepare nice mating surfaces and glue them, cut and/or plane the wood into slabs of near violin plate thickness, and then break them apart. If they break cleanly at the joint, your glue job isn’t good enough. If they break away from the joint, your glue job is fine. If they break right around the joint but with a significant number of fibers having pulled free from both sides, that’s probably ok (IMO).
  14. Bridge carving is a complicated area, with lots of variables, subtleties, and some "rule-of-thumb" principles that various luthiers don't exactly agree about. I'll leave it to the experts to guide you in how to improve this bridge/violin. However, I can strongly recommend the site which gives you access to pictures of and detailed measurements of thousands of bridges, many from highly esteemed luthiers/shops. I think that you have to pay a small subscription fee to see all of the measurements, but it is well worth it. You get more than a dozen accurate thickness/width measurements per bridge (shown on a diagram, so you can see where each measurement was taken), plus the weight and, of course, the maker's mark. You can learn a lot from that site. Those measurements above will give you lots of valuable info. However, you'll need to supplement the measurements with information about where and how to thickness things, the proper curved surfaces on the front (and back) of the bridge, and how to fit accurately, etc. To get you started with all of that, here are a few Maestronet threads that can help you: