Regis

Quote: "Final finish may be obtained by applying with a cloth a thin coats of shellac with a few drops of mineral oil added then rubbing briskly." If you clean the bow good first then use this "somewhat" french polish method you'll get a very good finish on many old bows. I keep small squeeze bottles with different color shellac all dissolved and ready. Then apply with a couple drops of fine mineral oil. You'll be tempted to use more mineral oil but don't. If you have small chips/cracks in the old finish, try to work that area heavily (even with little extra alcohol on your FP pad) to blend the edges of the chip away. I suggest doing everything you can BEFORE making any decision to strip the bow. Oh, be sure to do ALL(*(&^%$&*) repair work before working your finish. Best of luck and enjoy, Regis

Courtnall & Johnson says cut the long arch first until template seats and then do the same with each cross template. Is this the "preferred" way/order to carve the arch? Meaning, do you cut the long arch first? Or are there good alternatives? Do you get "overall" somewhat close before you even start with templates? Thanks Regis

Quote: "I would wonder, though, if the very best repairmen were mostly not "makers" at all." BUT, I would think that if one had any kind of obsession for a carving chisel, they better lean toward making rather than repair

Focal length is an issue. I use standard jewelers visor for close up BUT, the focal length is 8" (or 2.5" with the loupe down). They are now making an arms length(focal length) equivelent of reading glasses for computer work. They magnify just like reading glasses but, farther out and might just be the thing for gouging, planing, or even reading your computer screen. They're sold like reading glasses in 1.5, 1.75, 2.0, 2.5, etc magnifacations. Regis

Should the scoop be the same or more or less on the back than the slightly thinner top? Regis

Does anyone have a technique to help identify ebony. I have recently mistaken some kind of synthetic frog for well polished ebony. If anyone has a non-distructive test, I'd sure like to know. tx, Regis

I have the same one. It is an Oar sharpening guide. I agree. Here is a link to the one at woodcraft Oar gouge guide It sure steadys my hand. Regis

Quote: "Here's a little tip. Get one of those magnetic business cards and stick it on the thumb side of the scraper, it'll cushion your thumbs and protect them from the heat of the scraper." And here I am wondering what to do because I still have about 450 (of 500) 2004 magnetic calanders....about business card size. Regis

Seth, At least it is gratifying to know that ALL the states were red but, a handful of the counties were blue. And such bitterness limited to those narrow focused areas is just oozing out in any form at any target. I sure liked the violin discussion much much more. I have a lot more to grow and learn about violins as I already know too much about politics. Regis

Baxter shows $1,175 and Tarisio shows $374 - $1175 for Wiliam Conant work.

Did you weigh that thing (grams or pounds)?

I think that is a great idea to always cross grain lines with cleat sides. None of these are mine, but here is one I'm working (for a friend) that has some "ok" and terrible cleats. I believe I'll replace it just cuz I can not leave it that ugly. Regis

Quote: "Perhaps the Brits are not secretive but forgetful! By the time they finish, they don't know how they started!" Now I really like that . Don't think that is a Brit thing, I hope. I can think of a number of places I could/should have used that line! And at my current age, I will definately begin to use it!

Now I'm anxious to hear the "spring in the bar" discussion! (after my disasterous attempt at a unique bar clamp).

Amori, That looks very clean and interesting. Do you thread the holes in the MDF (for your mounting/dis-mounting plate)or do you use bolt/washers/nuts? Regis

There are probably more experienced answers but, I think the stamp/name is irrelevent. My understanding is that the bridge should be cut as to have the grain as parallel as possible to the tail side of the bridge which should be perpendicular to the violin axis. IMHO, Regis

Everthing seems better to me EXCEPT the handling of viewed messages. Regis

Yes, typo. String length nut to bridge is 323mm. The body is 354mm. The low neck angle, low bridge and shorter string length and "near" standard/modern neck length is what got me started asking.

Quote: "This is a good deal more work, of course.... I'm not sure what your plans for the fiddle are. " I paid too much for it so I have to learn all I can, then fix/set it up as well as possible to sell and recover. Regis

Wouldn't I have to shorten the neck down to 123mm for baroque? By-the-way, the top of the nut is on horizontal plane with the middle of the plate edge (1.5mm above rib). Regis

What is difficult to see in the photo is that the FB is 2 layers. The top 3mm of the FB is ebony glued on top of another piece (4mm).

This FB projects to 21mm at the bridge. The overstand is 5.5mm. Neck, measured from the 'edge' of the plate to the top of the FB/nut is 127+mm. I have been measuring from the rib/plate intersection to the top of the nut. Thank you, Regis

A couple months ago I posted question about neck angle and since then I'm on the 4th violin with 130mm neck and low angle. Am I looking at this wrong and missing something? Here is a pretty descent old German trade violin. The bridge and ff holes appear to be in the right location. Should I take something else into consideration before just cutting into and resetting the neck? At this rate, I'll be (or should be) an expert restting necks by next New Years day! Thanks, Regis

Korngold, Yes and Yes. There are some lenghty discussions on this in the archives but, yes some makers stamp to read with the frog up. Either way, the stamp, like label, is only a starting place to authenicate the maker. As far as copies, I'd guess there are more Bausch coppies than Ludwig could have made in 2 lifetimes. Regis