Brad Dorsey

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About Brad Dorsey

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    : New Hampshire, USA
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    Irish music

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  1. The wrapping looks to me like brown and white strips of plastic wound on spirally. Black and white is more common, but I have a spool of brown that I bought from Dick as bow lapping years ago. Someone else just asked about Albert Schubert. So, repeating what I said there, this is a trade name used on medium-grade German bows early in the 20th Century. I see bows with this stamp occasionally. I've not found any other information about it.
  2. Check the chin rest clamps.
  3. I don't think a spline would help, because the crack is so close to the face plate. Most of the spline would fall within the hair mortise, making it useless.
  4. I just started using this trick on the blade of my Lie-Nielsen. I just started because I just discovered that the "flat" side of the blade is not flat. I hope to have a machinist friend grind the blade flat.
  5. Pin cracks like yours are fairly common. As Michael said, there's a good chance that your top would have cracked without the pin; the stresses around the pin just encouraged the crack to form in that particular spot.
  6. I should have said over 100. She travels between Montreal and Boston every few months. If you live somewhere not too far from that route, I expect she'd be glad to bring you one to try.
  7. Michele Ashley. She has made hundreds of cellos.
  8. We call this a pin. It is a small wood dowel. There is probably another one at the other end of the top under the tail piece. Some violins have them on the back, too, and some have no pins at all. When they are used, their purpose is to fix the locations of the top and the back on the rib structure.
  9. Also called fingerboard projection, i. e., the height of the fingerboard projected to the bridge position.
  10. I don't think so. I think you should have brought it up to around C sharp or D with the peg before going to the fine tuner. It depends somewhat on whether you have steel strings or synthetic-core strings. The pitch of steel strings changes a lot more than that of synthetic strings when subjected to the same amount of peg rotation. This means that you need to tune synthetic strings closer to the final desired pitch than steel strings with the pegs. If your D string was only tuned up to A or G below D, I am very surprised that it broke. It makes me wonder if the string was defective or if there is some problem with the instrument that would cause the string to break. Where did it break?
  11. Not a maker, and probably also not a shop, Albert Schubert is a trade name that I occasionally see on medium-quality German trade bows made around 1900 to 1940. I don't know where they were made or who imported them into the United States. Not to be confused with Albert Schuster, a good German bow maker
  12. We don't normally have to measure the G and D string heights because they are derived from the outer string heights and the bridge curvature. The usual practice is to start with the grooves for the two outer strings (cello A & C) too high then then file them lower until they are the correct height. Next a bridge curvature pattern is traced onto the bridge connecting these grooves and establishing the heights of the two middle strings.