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Everything posted by davidstimson

  1. I am looking for a mail order source for Phillips 20w 03/rs bulbs and fixtures for a light box. Can anyone steer me in the right direction? Thanks, David
  2. #1 peter guarneri #2 del gesu early 1740's #3 amati
  3. The middle one could be Bardot, but neither of the others is Depardeau!
  4. A couple more things to check - Is the notch for the e-string in the bridge too deep? Sometimes the e-string will saw its way into the bridge, which can lead to harshness. A bridge that is too thin at the top can have the same effect. Having the soundpost too tight, or too far to the right is another possibility.
  5. The alcohol works great for removing fingerboards, too. I use one of those miniature plastic pipettes to squirt the alcohol carefully into the joint. Be careful of the varnish, though, in case it is a type that can be harmed by alcohol.
  6. I have been seeing ads for this in "American Lutherie", and finally ordered one. It is perfect for violin work where one doesn't usually want to use large quantities of glue. This one holds about 5 teaspoons, and keeps the glue at 140 - 150 degrees F. I just used mine for the first time today, and it is great! Here's the web site: mini glue pot
  7. I have been wondering whether the wood might have been steamed in a steambox. I do a lot of steam bending in boatbuilding and have noticed that steaming will rapidly accelerate the drying process, and it also seems to stabilize the wood. I steamed the wood for the del Gesu "Vieuxtemps" that I am making, and if it comes out sounding as good as the original, I'll be sure to let you know.
  8. I read five or six violin making books before I made my first violin two years ago. The best, by far, is the Courtnall & Johnson book called "The Art of Violin Making". It is not cheap, but well worth the money. (no violin books are cheap!)
  9. Speaking of buzzes - I recently had an annoying and evasive buzz in my violin, and trying to locate it was driving my crazy. It turned out to be the point on the wing of one f-hole rubbing against the opposite side. When I carved the f-holes, I was careful to leave the tiniest gap at the points of the wings - no more than a saw kerf. The varnish ran into the gap, dried, and then cracked, and that was what was rubbing. Arrrrrrrgh!
  10. The ebony liner is still intact on the bone, so I guess I 'll just go ahead and glue it on with CA glue after cleaning the surfaces. Thanks, everyone for all your help. David
  11. Here's a photo of the repaired tip: The roughness was just old glue, which I scraped off. If I don't want to use super glue, would hide glue work OK? Thanks, David
  12. Brad- The original bone tip is in good conditon, and already bent to fit the head of the bow. Any reason I shouldn't re-use it? If I use super glue, will it be easily removable for future repairs?
  13. Well, I did the repair, and it came out virtually invisible. Thank you all for your help! Next question - what kind of glue to use for the bone tip? David
  14. here's a photo of the crack:
  15. The tip is intact, and the break is just a thin wedge split off of one cheek, still partly attached. I don't think it will be a structural problem, but I'd like the repair to be as close to invisible as possible. I'll try to post a photo later today.
  16. Monroe - thanks for the offer. I'll try to get a photo in the next day or two. David
  17. Yes, it is just a blown out cheek. The piece is too thin for a spline, and I'm skeptical about splines, anyway. It seems that a good gluing and clamping will be as strong as anything. If the wedge is made so that it doesn't put sideways pressure on the head, it shouldn't break unless I drop it again. I like the thought of super glue because it is so thin, but will wait to see whether any bow makers jump in with different advice.
  18. This is a silver mounted one, and not a bad bow. Do you think I should attempt the repair myself? I'm not worried about spoiling the value of the bow - it's probably not worth a lot, especially with the crack. I just want to make it useable.
  19. I while back, I did something that one should never do - I dropped my bow and it landed right on the tip. The impact split the cheek along the side of the mortice. I have been using the bow, but now that I want to get it rehaired, I'm thinking it is time for a repair. This is not a really pricey bow, but it has worked well for me for the last 20 years, and I would like to keep using it. (the stamp is hard to read, but the best I can make out is something like "Leon Rigue" or "Rieue". Does this ring a bell for anyone?) Anyway, what kind of glue should I use, and is there any other advice for doing the repair? Thanks, David
  20. I got my copy directly from Peter Bidduph also, and it got here in less than a week. The price was the best I could find anywhere.
  21. I would have thought that denser wood would require thinner graduations, and vice versa. Is the Cannone really heavy, or is it just thicker than most other violins. Perhaps his wood was less dense. Most of the del Gesus have been regraduated, so we can't know what the original thicknesses were. Their rib heights may have been changed, also. I seem to remember a thread that talked about how thicker graduations and increased rib heights go well together. Piano Stud - by 300+ grams, you mean the weight of the finished violin, I assume. David
  22. I just finished reading the Reumont book published by Henry Strobel. His arguments are persuasive, and feedback from his customers is extremely positive. My knowledge of violins is not enough for me to give the book a fair critique, though and I'm wondering whether more of the experienced folks who have read the book would care to comment.
  23. Quote: Caro Ornati, l'anatra è un buon piato, senza dubio. Manfio-I don't understand French - what did you say?
  24. It's OK if your tools bounce, as long as your checks don't! P.S. If you drop your skill saw on the floor, and can't find it, then your shop looks like mine!
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