Jump to content
Maestronet Forums

Brad Dorsey

Members
  • Posts

    7196
  • Joined

  • Last visited

  • Days Won

    4

Everything posted by Brad Dorsey

  1. My list of New Hampshire violin makers does not include anyone named Ames, and the Wenberg book does not include anyone named Ames who could have been working 1835 to 1850.
  2. The corner blocks and rib corner joints are two big clues. Pay attention to Jacob’s description of these.
  3. I suspect that the quality of old cutting tools varies, and that the only way to evaluate their qualities is by experiment. You will need to sharpen each one and see how well it cuts and how well the edge lasts. Nice handle.
  4. I'm glad it worked. My thinking was you would need to rotate the movable jaw counterclockwise to free it, since it is immobilized by rotating it clockwise.
  5. I would try separating the two pieces by driving a wedge into the gap to the left (in your picture) of the metal bar.
  6. I don’t remember seeing any HRPs stamped on the frog like this.
  7. This is not quite analogous to the present pernambuco situation. Gibson was raided for Lacey Act violations, not for CITES violations. The rosewood had possibly been illegally harvested, but it was not a CITES-listed endangered species.
  8. All of them. One to change the lightbulb and the rest to tell him how Strad would have done it..
  9. I suggest that you run some tests on a few pellets. Try working them with cutting tools. What are their working characteristics? Do they hang together, or do they disintegrate? What happens if you soak them in water?
  10. Would you replace original Stradivari plastic pegs?
  11. It depends on the species. Rosewood is not a species. There are a number of species that are commonly called “rosewood.” I’m pretty sure that what is known as “Brazilian rosewood” is still tightly controlled. I think the same is true of “ebony.” There are a number of tree species that produce the black wood that we call “ebony,” and I think at least one of them is regulated. And then there is the possibility that a customs inspector might mistake similarly-appearing species for each other. Are your pegs Indian rosewood or Brazilian rosewood? Is your bow tip mammoth ivory or elephant ivory ? Does the species of elephant matter?
  12. I have always removed the bar before regraduating. Hans Nebel expressed it as doing what the maker would have done if he had been paid enough to do it right.
  13. Show us your planes. We like tools here.
  14. Given the pre-sale estimate, the auction house obviously does not think this is a real Fetique. If you are looking for a bow to play, you really should shop where you can try them.
  15. The neck needs to come out so you can reglue it properly. If you can't remove the neck with the top on, you will have to remove the top and chip out the block in pieces to release the neck. Then you would fit a new block, reglue the top and reset the neck. Removing the neck without removing the top risks breaking the neck or the ribs if you don't do it right. So, it is safer to remove the neck by removing the top if you can't easily remove the neck with the top on.
  16. I don’t know if plastic wrap would be strong enough for this purpose. I don”t think it’s retardation of drying would be a problem, because the plastic tape that I use doesn’t seem to be a problem in this respect. I think that this is because the leather is absorptive enough to permit sufficient glue drying even if the leather is wrapped with something impermeable to water.
  17. I watched them all -- over 20 hours worth. They are great. But the only thing that I started doing differently with thumb leathers as a result of watching was to start wrapping masking tape around the winding to mask it so I wouldn't have to clean off the excess glue afterward.
  18. I make a 1/4" overlap. I have never tried snake leather, but I assume that it would be similar to lizard, which I use occasionally. I find lizard to be very difficult to work with. The scaly texture makes bits fall of when I'm beveling the edges. I find that string can leave a faint helical impression -- like a thread -- in the leather after the glue dries. Instead, I wrap the leather with a green plastic non-adhesive tape that is used for grafting fruit trees. I got it from an orchard equipment supplier. The beveled ends of the leather are the hardest to clamp, so I wind string over the tape just at the ends. If I didn't have this tape, I think I would try one of those flat wide boot laces. I think you definitely want an overlap. Do you mean "stich" with thread and needle? If yes, that sounds bizarre and quite difficult. Yes. But I use a knife instead of a razor. I glue bow leather on any surface (wood, wire, tinsel, thread, etc.) with Titebond II, but I expect Elmer's or anything similar would also work. These glues don't actually adhere to the silver very well, but they make a good physical connection to the corrugated surface of the wire winding. I would not want to use hot hide glue because of the short working time, nor liquid hide glue because I have heard so many bad things about it on this forum. Sometimes you want to glue the leather on beyond the end of the wire. To avoid a visible step at the end of the wire in the outside of the leather, wind thread the same thickness of the wire around the stick to just short of where you want the leather to end. What is "rsg?" Don't use epoxy.
  19. This past summer, a friend rented a cello (not from me) and started lessons. I was at her house with her husband while she was away, I noticed that her bridge was on backwards, so I turned it around. When she returned, I told her that I had switched the bridge. She said, “That’s funny. When I went to my first lesson, the teacher said my bridge was on backwards, so she turned it around to the way you found it.” I felt uncomfortable interfering with the student/teacher relationship, and I certainly didn’t want to antagonize the teacher, who I had never met, but I ended up leaving the bridge the way I thought was correct. My friend went to her next lesson and told the teacher that her luthier friend had reversed the bridge. The teacher got upset. To settle the matter, she went on Youtube to prove to herself and to my friend that I had put the bridge on wrong. She discovered that she had put it on wrong. Does anyone else here have any good teacher stories?
  20. The 2002 catalog does not list any Nürnberger or Robert Hoyer bows.
  21. In your present situation with the glue completely dried, I’m thinking that you could re-hydrate the glue by laying a strip of damp paper toweling over it for a few hours. Lay a strip of plastic sheet over the towel to keep in from drying out. While you’re waiting, figure out some way to apply clamping force to close the joint. This might involve a bar clamp bearing on both sides where the joint is the furthest open and maybe some other kind of clamp pressing down on the outside of the arching. Test the glue with a very slender probe — perhaps a violin steel E string. When the glue is soft from water absorption all the way through, heat the joint with a heat gun or hair dryer to re-activate the glue. You will be able to see liquid glue oozing out of the joint pretty quickly, but you should keep heating long enough for the heat to liquify the glue all the way through. Apply the heat from both sides, ideally with a helper and two heat guns so you can heat from both sides at once. When you have got it heated all the way through, clamp the joint shut. As part of your preparation, consider doing as much preliminary graduation along the bad joint as you dare to minimize the wood thickness that the heat needs to penetrate. I think that if you continue arching and graduation without fixing this you will end up with a joint that will open. I should say that I have repaired something like this successfully on old instruments, but I have never tried it on one under construction. I suggest cleating the joint as soon as you have finished graduating.
×
×
  • Create New...