Joe Swenson

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About Joe Swenson

  • Rank
    Enthusiast
  • Birthday 07/20/1955

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    https://www.facebook.com/JSwensonViolins/

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  • Gender
    Male
  • Location
    Livermore, CA
  • Interests
    Music, Lutherie, Trail Runner

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  1. If it did, makers would have figured that out 400 years ago...
  2. Correct. I never saw a point for it. I much prefer a round fingerboard.
  3. Hi All, Long time since I've been here. My apologies. Hoping to be more regular here, again... Yes I finished my first cello build (way too may pictures of the final process, but I'll try to update my Bench post. I've been playing it now for a year. AND LOVE IT! Has a few issues, and my share of minor mistakes. Wolf tone not in the best place now. It migrated over the past year from between F and F# (loved it) to smack dab on F natural {not loving it) . Neck vibration on open D as in my previous cello, in spite of proper maple and ebony thickness (Easy to address (again} with a little mass attached under the end of the fingerboard). But it is so easy to play. Wonderful tone. All I wanted was a cello better than the one I was playing before. So yep. I'm thrilled. 4 years was well spent. LOL OK, so my current question comes from repairing a few violins recently and noticing the different pitches in the different soundposts I have sampled, when they are dropped on a hard surface. My brain tells me to pick the material which rings the best and has the best tone (to my ear). But I realized that some of the pitches produced by the soundposts are much higher than others, while other soundposts seem to have no pitch at all (those get rejected). I tend to go for the ones that I can "hear" the best which means a certain frequency as well as loudness. Is there some rule of thumb about sound post selection with regards to what pitch is the best, say, for a violin or cello? I know the pitch depends upon the length and diameter. But as with most things Luthier, there is a preferred option. Just wondering what that was... Cheers, Joe
  4. When I first considered setting the neck after only gluing the belly on the ribs,, I thought there might be too much flexing in the ribs to reproducibly determine the fingerboard projection, but the structure is quite stable without the back. So it was pretty easy to work on the fitting the neck into the neck block and getting the projection right. I feel like this method allows you to glue the neck root much more securely because of the ability to properly clamp the neck to the neck block. It also ensures the neck alignment from the dry fitting prior to gluing. The button end of the neck can now be precisely cut, sanded and planed flat to the ribs for a perfect fit to the back plate. Something that was much more difficult to accomplish when both plates are already glued to the ribs. All in all it seems to make fitting the neck a whole lot easier.
  5. Sorry for the confusion. I should have posted the original drawing instead of my template version. Here is the full drawing to scale and a couple showing the dimensions.
  6. I like that idea about winding something around the nipple. The good thing is the bow even with the crack was still pretty stable and rigid. The crack was relatively difficult to open up for gluing. The bow owner is aware of the damage and I asked the shop owner to recommend to the bow owner that he take it to a bow repair shop to have a collar installed. I confirmed with the shop they wanted to proceed with the repair in spite of not being able to install the collar. But I totally understand and agree with your concern. Thanks all for the input! Cheers, Joe
  7. I actually am trading some of this work for Cello rental for my grand daughter to whom I am giving lessons! She is 10 and loves it (so far). Life is good! Joe
  8. Thanks for the observation. Good point on the saddle. Yes it is quite tight. Yes I agree with you one the also on the crack repair. I had no illusion of getting the edges to line up doing any form of external repair. I was more just interested in stabilizing the cracks. But You're probably right and I'll just leave them to the next owner. Since the shop just wants to sell it "as is". I think the bass bar crack has already been fix once but it has grown since then. I'll pass along the info on the auction sites and discuss with him the issue of selling a violin that needs repair. Thanks again for your input. Cheers, Joe
  9. Unfortunate I don't have a lathe to make my own tool. On my wish list. That and with access to a milling machine, I could make almost anything. The bow owner was fine with the extent of the repairs - minus the support ring. There should be no stress on the crack unless the bow is dropped again. Which is probably how it broke in the first place... The crack was pretty safe to begin with and the bow still quite strong, as it took a bit of pressure to separate the seam enough to get the glue permeating the crack. I suggested, if he wanted the bushing installed, to take it to a bow repair shop. Once glued (with cyanocrylate) and wrapped with string to clamp, the crack is almost invisible. The eyelet repair also went very well. Did a test drill on a piece of ebony with 7/64" drill bit and could firmly screw in the new eyelet. So enlarging the eyelet hole by 0.2 mm was really simple. I only had to then narrow the eyelet "box" by 0.15 mm clean out the channel slightly for a nice slip fit. All that is left now is to rehair the bow. Thanks for the help! Joe
  10. Is this carbon fiber ring hidden in a cut slot like the repair in the link I posted? Thanks, Joe
  11. Thanks for the response. A ring to support the glued crack makes sense. I found this example which requires a special cutter which I don't have to recess the ring. http://www.fineviolinbows.com/Repair-blindring.htm In the absence of the proper bushing channel cutter tool. Would you recommend just gluing the crack as well as the remaining eyelet repair and referring them to a bow maker to get a bushing installed? Thanks, Joe
  12. Got a bow in for repair and re-hair from the local music shop. The wood of the bow I just discovered is cracked and the eyelet, which is slightly undersized has such thin walls that it does not hold when tensioning the bow hair. An new eyelet of the correct thread will not tread into the frog because the stem is also undersized by 0.2 mm. Easy enough (yes?) to drill out the frog to the right dimension for the new eyelet. A 7/64 drill bit worked well on a tes piece of ebony. But the width of the new eyelet needs to be filed down to fit the bow slow but at least 0.2 mm. Depth is OK so I can leave the height if the eyelet alone which is where the old eyelet failed. So my main question is is the bow crack an issue that needs to be addressed any other way that gluing with hide glue? Or would you use white glue? The store told me this was a $600 bow. I am reminded of the Pink Panther when Inspector Clouseau destroys this grand piano and the butler reminds him that is a "Priceless Steinway"... and Clouseau responds "Not any more"...
  13. Sorry for the late response which is my way lately. Thanks so much for all the good advice! I appreciate the time you took to provide your insights and perspectives. It will help me going forward with this customer. We've talked again and discussed all the repairs the instrument "needs" and come to an agreement as to what he wants done. He doesn't want the top removed and the cracks addressed. He just wants a violin he can sell for a couple hundred dollars. So minimal repairs. I'm just going to shim the neck and make it playable again. New bridge and sound post. The cracks are pretty stable for now and don't "buzz" at all. I may try to work some hide glue into the cracks to help stabilize them. Tried to do some manual external alignment of the main new crack ans its not moving easily so I'll just leave it alone aside from a little hide glue on the exposed edge. Thanks again. As always Maestronet has the answers! CHeers, Joe