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Everything posted by JoeDeF

  1. If the retouching material goes into the crack (that's presumably likely if the goal of the retouching is to hide the crack), won't that make it harder to glue the crack well in the future if it becomes necessary to do so? Just asking, any opinions on that?
  2. Someone here is probably going to hit me over the head with their sturdiest bass fingerboard blank for saying this , but thinking about it, the easiest way to get started might be to make an electric violin. That could be a simple project that would likely yield a playable instrument while giving you a chance to carve a neck, think about the basic geometry of the neck/bridge/tailpiece, and incorporate as much or little carving as your creative design calls for. For example, you could carve a scroll if you like, or if not, make a scarf jointed paddle-style headstock (like an electric guitar, with lightweight mechanical tuners) instead. You could buy a pre-made preamp, and your electric violin would sound about as bad/good (judgement call ) as that preamp would sound in any electric violin. Just a thought….
  3. Hi ICTOO, Glad you're interested. This is a hard hobby to get into without spending a fair amount of money money, though. As for books, the best cheap-ish books are the Henry Strobel books. You can start with the "Violin Making Step by Step" book, and add a few more later: This thread has some thoughts on what tools are needed. I linked to directly Michael Darnton's post to give you an idea how many tools he considers to be necessary. You could get by without some of them, but it would make things harder, more time-consuming, and less likely to lead to a successful instrument. As for wood, you could start with International Violin (tools also), though there are many options: You could practice carving (and sharpening your tools so that they cut/carve well) on wood from a lumberyard before taking tools to your "real" tonewood. As for videos, Davide Sora's, though they are in italian, are my favorites: Incidentally, Davide is a member here and posts good information. Really, if you're not able to find a mentor (which would be by far the best strategy), reading all of the posts on Maestronet and using the search feature here is your best bet. Good luck with it. Joe
  4. Here are some threads that I found to be helpful:
  5. Very nice, Manfio! Viola sounds great. I like that slightly wider lower bout. I'm assuming that this video is the same group and same viola?
  6. Maybe that one was purfled by his heretofore unknown partner, George Crakse
  7. It works, or you can buy a dedicated CA solvent (which has additional ingredients to soften the CA). I have used several brands, and currently use FastCap 2P•10 Debonder, which works very well.
  8. I'm not sure, but the clothespin looks American, ca. 1985 0r so....
  9. It is my (limited) understanding that tartini tones are created by nonlinearity. That nonlinearity could be in a mechanical object like the instrument or your ear, but I have read that air can behave in a nonlinear fashion. Difference tones don't tend to show up in measurements. As a mental model just for visualization, I think of two colored lasers being beamed into a fuzzy lens that partially outputs the mixed waves, yielding a third color. If you take a picture of the lasers with a clear lens (measurement instrument), you only get a picture of the two colors, not the mixed third one. Again, just a mental model. In pianos, I do tend to hear difference tones most loudly when there is some defect in the soundboard structure. I assume that the defect creates a more nonlinear condition. In fact, when I hear them prominently, I usually start to look for soundboard cracks, loose ribs (braces, more like a series of bass bars), the soundboard separating from the inner rim, etc. I often find such a defect, though not always...which is a very roundabout way of saying that you could inspect your violin's interior very carefully for any small gluing defects, etc. If you like it as it is, I guess you wouldn't want to "fix" them, but it would be interesting to know if they are there.
  10. Brad, you are right if one of them is reverse-threaded. Then it's essentially like a turnbuckle.
  11. 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.
  12. 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.
  13. Thanks! Beautiful texture following the flames on the back at about 12:38!
  14. 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....
  15. 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.
  16. Why make it when there are so many jars found in attics available cheaply on eBay?
  17. 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):
  18. 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.
  19. I think he specialized in electrics….
  20. 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?
  21. In many cases, don't blame the maker -- blame the eBay reseller who stamped the stick!
  22. 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).
  23. 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: