Evan Smith

Members
  • Content Count

    1640
  • Joined

  • Last visited

About Evan Smith

  • Rank
    Enthusiast

Recent Profile Visitors

6743 profile views
  1. https://tsf2018.com/en/stradivarius/ Did someone say catalogue? Thanks Duane! Left Click on the pics, then right click on the ones that come up, and pick view image. Some of them can be enlarged from there. It all started with Rue,,and those nasty Violin nerds. I can usually find plenty to bitch and bellyache about,, but not these Guys,,,, I Love'em Great happy people.
  2. Every thing needs a name,, I love to walk in the mountains, around the CATNIP and angelica,,,along the little streams. And lo and behold there are spruce trees there also.
  3. Absolutely. But I don't know about more to do with modifying the bridge fit,, maybe a bit but it is changing the distance of the post. As to the post in front of or behind,, It doesn't make much difference if the post is in front of or behind. Some fiddles adjust out better behind, some do better in front. If you didn't tell, or show them... the players nor the listeners would know the difference. In context some are better in the front, some in the back and some won't matter, but either way it's not the big obvious horror that the mind will conjure up while doing the normal mental thought experiments.. I would never leave the post in front of the bridge because in short order the upper f-hole wing rises unacceptably and basically looks disgusting and the extra bending could facilitate a crack in the eye. Which is about as exciting as a sliver under the nail.
  4. I fit mine dry so I can give it a good shaking and it will hold fine, I think it's called an,, um,,,dove-tail. Then I size it then re fit it a bit, then glue. But if I have to take it back out I have a really big fit!!
  5. GRRRRRRRRRRRRRRRR WOW! DUDE!
  6. Two sisters wanted eagle fiddles, In order to have access to the A string the beak had to be turned to the side above the pegbox wall. One of them looked left the other looked right, this is the left one.
  7. Sure you can repair it Check how much clean string you have at the peg end, and sometimes you can take a sharp knife and skin the fabric winding back a bit further to expose the string if necessary. Now take the broken end and fold it back on itself using the appropriate size of awl, or rod or whatever, then gently twist the short end around the long part of the string several times, don't over do this and make a big ugly mess, you want to keep the string length fairly straight and tidy. Then wrap it tightly with heavy carpet thread or something equivalent. Then wick some quality thin super glue into the thread and you have fixed it. If you do a tidy job it won't hardly be noticeable. To repair the peg box end you use a square knot, but it also has to be superglued or it will slip out. In an emergency situation some rosin melted on the knot can help hold it from slipping. Cello strings done this way at the pegbox are especially fun, they seem to hold forever after the fact so it does work. If there is'nt enough string you can graft one on from an old string. Not everyone has the privilege of having enough money, so I learn how to get them by. I've done this lots of times, good cello strings are crazy expensive. Evan frugal
  8. The added wedge place the strings higher up in the air = overstand, as if it were closer to a modern neck.
  9. Maybe the nut on the Lady Blunt was placed so low to help keep some of the leverage factor off of the top? Maybe the picture is distorted and just plain wrong? Maybe and I mean JUST Maybe,,, someone knew what they were doing?
  10. Between Baroque and modern,,, the physics are the same no matter what you want to call it.
  11. Phillip, Does he enjoy playing on your cello?
  12. A big problem with this is that as you decrease the angle of the neck you increase the overstand, which places a lot more force on the top than the normal string angle over the bridge does on an average fiddle with an average set up. The arch under the fingerboard will be more likely to rise prematurely and the neck will end up dropping too fast and too far because of the increase in the leverage of the neck, because of the high overstand, to accommodate a straighter neck angle to decrease the angle over the bridge to appease some primordal urge of some sort or other because there is a picture of an old fiddle on the internet net with some lines and numbers drawn on it because someone put it there just because they did because they wanted to and it all means nothing, If there is a fear that a particular fiddle has a weak top, the overstand should be kept as low as is reasonable the saddle should be left highish, and the neck could be set to accommodate a lowish bridge if all of the above was warranted. The 158 comes from centuries of successful set ups that work,,, and the success rates seems to revolve closely around those numbers, of course things can work fine outside those parameters. Worrying about the neck angle while ignoring the overstand seems a bit eccentric. I still don't get what it is you are trying to point out. There are literally trillions of pictures on the internet, I try not to loose sleep over them. You are free to put your own picture out there labeling the correct angles if it pleases you. I haven't figured out yet what you mean, Shall we all start a petition to get it removed???? Evan happy little camper and friends!
  13. Nice wood. I would use it,, but knowing that I might have a bit of leftover visual excitement from the repair. So I go into it thinking that this might end up being antiqued in the end. A flawless clean instrument looks bad with one obvious flaw. Sometimes an instrument just seems to accumulate the the debris necessary for a convincingly old one, other times not at all. To repair this I would not wet it, that is what you do if you don't want the hide glue to penetrate the wood. You first fill the wood with water and there is no room for the glue, and what little bit that does get in is greatly weakened so when it drys there is almost nothing there. This is how to put in purfling in a finished channel without leaving glue ghosts every where. You get the edges really wet for a bit then put in the purf then wipe it dry and wash it again, then weight it down so it will dry flat. But that's not a problem on a finished box. ( for guys reading this while pulling out your hair,,, don't get the purfling channel wet itself, just up to the edge, use a tiny tiny brush and only do the part you are working on one place at a time,, no water in the purfling channel) For this type of problem, I would place the plate on a flat surface, then start placing shims under the crack and pushing down on the plate on both sides of the crack to see it you could get it to open up at all. Keep adding shims and checking it in a very controlled manner, use folded pieces of paper or something similar. If you were to try to just flex it freehand to observe the strength of the crack, you run a high risk of snapping the plate into. When you've accessed just how bad the damage is I would use thin CA glue because it will run the full length of the crack. You have to use plenty and keep it wet for a bit and wiggle it over the shims a couple of times or you can get a starved joint. I would have a clamp setup with some plastic between and use sacrificial wood as a backing on both sides and clamp it good and tight. Get it done NOW! When you clean it up there is a good possibility that you won't hardly see it. If it does show, one direction to take is to keep the ground, or seal coat bright and white, the same color that the glue leaves the wood, and your very first coat after the sealer will be the golden brown of the ground so it won't be noticeable. Also if it shows there is the possibility of placing a piece of multilayered tissue directly above the glue and then drop a bit of acetone on it and cover it in plastic, (I like 1 or 2 gallon food bags) then overlay it with several big towels to seal it and keep it from evaporating, then repete while checking it fairly frequently. You can lightly scrub it with a soft tooth brush. When the towels have sufficiently drawn up the glue out of the wood surface you are done. And if you clean it up with different arching,,, Arching and channels vary a lot, something like this has caused me to make an unexpected arch and actually I was quite pleased with it, it got me to exploring other possibilities and the fiddle sounded fine. OR,,,, Just chuck it and start over,,, Evan
  14. Probably not if only being concerned with the strength. But I've heard mentioned before about the effect that humidity can have on the stability of the end grain on the heel before,, and it does make me wonder about it. If it were a piece of wood laying there 1 inch thick with the end grain situated on the face, it would visibly change shape if one side got wet. I don't know? Does it matter? Does prolonged dryness raise the neck, Does prolonged humidity drop it? I have kept a wet rag directly on the heel of a strung up fiddle for days, seems like it might have come down, just maybe a tiny bit, but I don't exactly remember. Didn't make a big impression if it did. I should give it another go.
  15. Before I knew better I used that stuff, Sam Compton once wrote an article bout the total disaster that ensued,,,,,involving 8 violins 2000 miles from home. The phrase "Before I knew better" usually indicates a change in behavior,, and that I don't do that any more, and most likely I do use a glue pot, and I don;t spend time considering any environmental conditions,,,because I know that good ol regular hide glue will cover all my bases. Evan Liquid hide glue Ex Expert