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Jeff White

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Everything posted by Jeff White

  1. This may be a little late, but the first thing I do in these situations (upcoming sndpst patch) is make a cast. Then, all the 'mess" that is forthcoming can be dealt with better (cast correction and all.....). After removing that glue physically like that, it's going to be quite the mess to get all realigned well and retain the arching curve in that area. A cast (corrected) sure helps me in that.
  2. I would also like to know more about this .....(school)?? I've run into inventory that I've put up for sale in my shop. Most look to have that typical Japanese look, but other things make them look Markneukirchen like. Almost eveyone has had a very low overstand, compensated for by a steeper neck angle. Kind of like a lot of mid 19th C French cheaper instruments I've run into. Always thought the Japanese got hold of one of these and copied it? Would love to run into someone who knows this area of violin making. Most sound quite well for their price range when properly set up.
  3. If your luthier works with Chuch at Pegheds, he has a version that matches as a direct replacement for these Caspari's. You just "backturn" a some reamer in the fiber washers and as it heats up, the glue melts and the fiber washers just spin out cleanly. Chuck taught me this and as skepical I was at first, it has worked every time. A very economical way to deal with this as opposed to bushings. As someone said earlier though, leave them alone (as long as the bushings aren't spinning) and they will work fine. Have to make sure the fiber bushings don't move!!! Lube the friction parts and they are passable.
  4. The Hill shop mainly used a screw type of pin, just leave it.
  5. I'm sure he saw much more, but the main pic he in his file was the end and neck block shape that you can see in the original post pics
  6. Well, for all who remember this Id thread, Rampal christened the violin with a certificate from Francois Caussin, C.1860. Surprised me as the edging is so much flatter than anything I've seen/see from records. Who am I to argue??? He showed me some pretty incontrovertible evidence of inside pics to confirm from his archive. Here is the finished product. A lot of funky retouch on the belly, that I decided would be better to just "clean up" rather than really go after.
  7. Jeez Davide....all the thinks that are going with age.....................The truth hurts
  8. The easiest way to tell the difference is in the way it polished up (or doesn't) Have to agree with BF, that sure looks like Nickel silver to me, but then again, it's a pic.
  9. Nathan, this is an issue I've spent much time working on as my work load increases. I"m usually, at any given time, working on a couple of longer term jobs, while sticking basic work (1-9hrs) inbetween. I've often "lost" saddles and nuts...... I currently use plastick zip lock bags to put all in after disassembly. Sure would be convient to have a big enough shop and a bench for every job going on. I bill by "time", and so many jobs are a few minutes here....wait a day....a few minutes there....wait a few days. I try to keep a clip board with the job sheet and right notes, times on it. Bottom line...I feel Ya!!
  10. Andreas, Chuck at Pegheds has this option.
  11. Something to check when you have a thin fingerboard, is if the neck is warping from tension. Most of your stiffness to keep that neck straight is from the fingerboard. Carefully site the glue line between the two, or, use a straight edge. Many thin boards I have seen have a neck warpage problem. Worth checking.
  12. If a cheaper chinese bow, then I just wind it tight with my fingers rubbing over the outside, hold it, and a drop of super glue. A drop from a pin, not from the bottle(too big). Anything else, I redo the winding with new.
  13. It's hard to tell, not the usual bevels and indications. Only goes on one way at the moment, kind of a slight taper think going on. Frankly, it doesn't fit either way
  14. It's silver, no doubt.
  15. Your right BF( and Dwight, Nate....)about the head. This thread is about my learning. It's been splined, and unfortunately, quite deeply and into the throat. I just figured I could learn something about the slide combo and the forward mortice, thin and short ferrule, spacing width of the parts on the button, etc. BTW, it's sterling. Thanks FC.
  16. Jeff White

    Bow ID

    This came in for a some work and I'm not sure what it is. Stamped E. Martin, I know there was a german family importing commercial violins under this name (I have one). Maybe this was a "bow line" that they were using?? It has some differing things on it, like the mortice being pretty far forward, the slide and upper silver lining all in one (though, I have seen this before). Slide screws have the slot cut "not in the middle". Hard to believe German maker would do that. I"m thinking cheap french?? Looks like an older bow. No pins in the button, silbver collars are round on the inside diameter.
  17. Looks to me like a botched retouched. Looks like pigment is "IN" in the wood now----problem. As to what originally caused it is anyones guess.
  18. Davide, sorry, I wasn't clear. My confusion, and GeorgeH's question was about the method that Andreas (Maybe the 5th post or so..) had learned in Budapest about making the top and back, and then sandwiching in the blocks, and then making and installing the ribs.....I think. I'm confused on this.
  19. Andreas, I think some (including me) are confused on the building order, hence the question about when to put the linings in. I've never understood this method.
  20. When they are trying to sell it they do!!!
  21. Marty, maybe your idea with the epoxy would work for him if you forget the paste wax.............Won't be able to move it then. Now, to solve the other issues..............
  22. Oh Lord......Prepare to hear a lot of crazy stories about Rene, having nothing to do with bridge cutting.......
  23. Like Brad D., I make new bridges with the back perpendicular to the rib line with the belly. I also so a slight back cut (top of backside of the bridge, 1/2mm on cello). I would like to hear how others angle their new bridge work. I've never really seen a bending problem that wasn't caused by player neglect. I think this is the whole deal, not in any treatment of the bridges. Daily, I"m correcting players on keeping their bridges straight. I also have had great luck in straightening bridges the same way that MIcheal does it, with educating the client, and sometimes refitting of the feet.
  24. I have had the frequent occasion to have had a decent amount of better Markies and Roth tops off. I have seen exactly what you are describing, more times than not. From what I have seen, commonly the squared off linings into the CB's, but about 1/2 the time do I see the squared off linings going into the top/bottom blocks. FWIW........
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