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About Woodland

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  • Birthday 09/12/1967

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    Great Lakes, USA

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  1. Guasti is a maker at L'archet Brasil. I just sold a cello bow made by that maker, and it was quite nice. It was a very modestly priced nickel/ebony bow, but played well and drew a nice sound from the instrument.
  2. I would think the glue lines between the layers would show once you began shaping the frog, as bow frogs are anything but two dimensional. Take a piece of laminated wood, shape it or turn it on a lathe and you'll see what I mean. If you want to try your hand at scrimshaw, old piano keys are great for that. If you're ever looking to dispose of your ivory, just make sure that you're aware your state's ivory restrictions. They're changing faster than many people can keep up with them, and a number of states have completely banned the trade in ALL types of ivory, elephant, mammoth or otherwise.
  3. I know a luthier who made a few violin bows from Osage, said it didn't work very well. I guess it's more of a hunting bow wood. Very dense stuff. American persimmon is actually a species of ebony (genus diospyros), but Osage might be more prolific and readily available than persimmon, I guess it all depends on where one lives and what's locally available. Being someone who works in the trade and is surrounded by affordable Chinese instruments (for sale and rent), I don't see pricey engineered fittings being the solution for affordable imports, other than maybe Wittner Ultra tailpieces and pegs, which cost more than Indian ebony fittings, especially when the ebony fittings were purchased/crafted by Chinese factories in bulk. In short, I don't see one thing completely replacing tropical wood fittings, rather a more diverse offering of non-threatened woods and engineered products helping to offset the demand and use of the traditional materials. I'm encouraged to see people addressing this growing problem and thinking outside the box to give us more options.
  4. It certainly is a bright yellowish/orange when it's freshly cut, but oxidizes brown over time, not much different in color as the Sonowood walnut boards. No shortage of Osage around here, common to see them as living fences along roads and property lines.
  5. So apparently I didn't fully understand what "Flaxwood" really is. Apparently it isn't a flax-based composite at all, rather it's a recycled spruce fiber/polymer composite. That doesn't make it any less appealing to me, however. Interesting.
  6. I saw that link. Where the fingerboard is very reasonable, shipping to the states is over $33, making for a $50 purchase. I'll keep an eye on things and wait until I can purchase one stateside.
  7. I like the idea of using flax composites. I'm seeing it pop up more and more in a number of applications these days, from violin cases to surfboards and now fingerboards. I see it's actually a GEWA product, or at least marketed by them. I went to gewamusicusa.com and logged into our shop account and saw they didn't have the flax wood fingerboards as of yet. I'll have to get in touch with Kentaro and see if those fingerboards are in the works. I actually have a decent supply of ebony boards and fittings, likely all I'm going to need for the instruments I plan on building. However if I find myself needing components in the future, I can't see myself staying on the same side of the issue anymore. In other words, stockpiling tropical wood fittings in order to stay one or two steps ahead of the inventible restrictions I can't do with a clear conscience anymore. There appears to be excellent progress being made in the area of engineered fittings, it will be interesting to see where things are five or ten years from now and how much the cost comes down.
  8. I remember Ed Campbell told me he made the lower left rib a double thickness to withstand the stress of chinrest pressure.
  9. No. I've had this tool for ten years.
  10. Just last week I took some old "new" stock 14" Eastman violas that were received and shelved un-set up 10 years ago in our shop. They came with pre-cut bridges that were all consistently low, as the necks were all high (29-30mm fingerboard projection). I doubt the low bridges were an oversight by the technicians at Eastman, or the high neck angles by the factory workers. I have been told by another distributor that low necks can rise, but I wasn't sure if he was just trying to pass off his low neck angle inventory on us, something we're especially picky about in our shop when purchasing new inventory. The violas were received by the previous shop owner before my tenure there, perhaps they were shelved due to their neck angles, or they we're just an overstock at the time. All of the instruments also had open seams and one had a loose fingerboard, so they certainly went through 10 years of Midwest seasonal changes.
  11. I was guessing a conservative estimate in playable condition would be $3,000 USD, perhaps more depending on the shop offering it for sale, just my guess though. We'll see how much the owners are willing to invest in it. The ribs seemed to flex a fair bit when I opened up the back seams, we'll see how much work they'll necessitate. The lower top seam is opening a fair bit in the usual place, not sure if the owners would want to invest even more to go inside for clamping and cleating. It apparently belonged to a relative and they want me to bring it into playing condition for a youngster. Hopefully not for a beginner...
  12. GeorgeH requested some additional photos, so here's a few more...
  13. I occasionally do violin work for the local boutique guitar shop, and they sent this nice old thing my way today. German Strad label, with what might be French polish over oil (if I had to make a guess). Where the varnish exhibits the most wear the crackle disappears. Overall good condition, needs a bit of a cleaning (duh) with some rib and center joint gluing in addition to a set-up. I'm curious as to what others might think of the origins of this violin (region, factory etc.) Pre-war Markie?