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Brad Dorsey

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Everything posted by Brad Dorsey

  1. Tell the client that you will have to charge extra for this unusual special request. And that you will not be able to take it back as a trade-in or put your name in it. Air brush sound good.
  2. In looking at the book again I see that OTTO MONNIG was a stamp used by Johannes Monnig. There are no dates given.
  3. There’s an Otto Monnig listed in the Grunke bow book. Could it be him?
  4. Carving a scroll step by step (or almost) - Page 4 - The Pegbox - Maestronet Forums
  5. The straightness of the neck is achieved when it is set in the body. So if the side angle of the end of the neck is not exactly square, you can cut one side of the mortise in the block a bit deeper than the other side to set the neck straight. But to get the desired neck insertion in the block, the other angle should be around 87 degrees. And for laying out the neck and cutting it on the bandsaw, the upper surface of the block should be perpendicular to the saw blade. To make use of an out-of-square block of otherwise suitable wood, you can achieve perpendicularity by gluing a temporary piece of sacrificial wood to the surface that rides on the saw table. Manfio's scroll cutting guide is excellent.
  6. How do you figure that? Does it apply to repairing, too?
  7. Is there a date for Oskar C Meinel or Eugen Meinel? These are commonly thought to also be Roth trademarks. I'm surprised to hear that Karl Herrmann was a Roth trademark. I always thought this was a different firm.
  8. I was wondering about that. Makes sense.
  9. How would you allocate them? Perhaps something like: 1 - tops 2 - backs 3 - rib strucrures 4- necks/scrolls 5 - assembly 6 - varnish 7 - set up
  10. Nicely done, indeed. I would like to see it done with hide glue. But hide glue would introduce more variables: gram strength, dilution, age, temperature, sizing, etc. My observation is that hide glue is absorbed into end grain a lot more than Tite Bond is. This might make a difference. It’s interesting that the end-grain-to-end-grain test is the only one that tests the strength of the glue bond. The other two tests only test the strength of the wood because the glue joint never breaks during these tests.
  11. From the inside or the outside? How much wood? Does this work on varnished instruments?
  12. Yes. Also, the tool marks left by a jointer are unacceptable. If you could adjust the infeed and outfeed tables of the jointer to leave no gap, then remove the tool marks with one or two light cuts with a hand plane, you would be good.
  13. According to the Grunke bow book, Albert Kramling was not a bow maker. This was a trade name used by the Roderich Paesold firm, which was founded by Paesold in Bubenreuth, Germany, in 1950. Because the business has employed many bow makers, it is impossible to know who made your bow. It was probably made on some sort of production line with different people making different parts and some parts made by machines.
  14. I don’t think so. The effect of the trademark was to give Roth the exclusive use of his signature on bowed instruments and accessories. That doesn’t mean that he never used his signature in a violin before 1922. I don’t have an opinion on the date of the violin.
  15. Do you do this to all your cello bridges?
  16. Does it work? It looks like you would need more drill bit extension, and I think a bit that thin would tend to wander off center when drilling a hole that deep.
  17. According to Henley and Jalovec, H Robert Nurnberger, the son of Franz Albert Nurnberger, was born in 1862. He trained under Carl Friedrich Pfretzschner and worked for Heinrich Theodor Heberlein and August Reichers. He established his own workshop in Markneukirchen. Jalovec calls him an “excellent bow-maker,” and Henley says “Finely designed instruments satisfying for the contemplation of the eyes.” He is not mentioned in the Grunke bow book.
  18. Cello bridges warp in both directions, so any warp preventative would need to have front-to-back symmetry.
  19. On another bridge thread, Dwight Brown said: "A maple bridge with a laminate in the middle might be interesting to stabilize bridges from warping. Especially student ‘cello bridges which were the bane of my existence as a school orchestra director!" We have all seen warped bridges, and they are especially a problem on student cellos. My first thought was that Dwight's idea is interesting. My next thought was that it wouldn't work. A laminate in the middle would lie along the neutral axis of the bridge, where it wouldn't be subject to either tension or compression, so it wouldn't act as a reinforcement. Is my analysis correct? In trying to imagine how a warp-free bridge could be designed, I imagined a bridge with carbon fibers running vertically on the outer faces of both sides. I assume that when a bridge warps one side is subject to tension and the other to compression. So whichever way the bridge tried to warp, the fibers on one side would resist the tension on that side, preventing warpage. Does that make sense? Maybe not, because maybe when a bridge warps it is entirely due to the concave side being compressed and not at all to the convex side lengthening. Am I over-thinking this? And the carbon fibers would make fitting the feet and cutting the height difficult, and they would make planing the thickness impossible. How would you design a warp-free cello bridge?
  20. An interesting idea, but I will start a new thread to avoid hijacking this one.
  21. I was taught to feather the ends.
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