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Everything posted by Ron1

  1. I voted, but I don't understand why a name change like that would be made- what would be the point? Not much of a make-over! Or was ISOC really "kicked off" as was claimed, and a new name was the only way he could continue to post?
  2. I think the books now available from Weisshaart are a subsequent printing. I do have a 1st ed. copy I bought at a recent Tarisio auction. It's my understanding that the book is somewhat outdated in that it recommends some invasive procedures that are no longer deemed proper. Otherwise, it is an excellent reference for restoration work.
  3. Quote: It seems the price ranges from $425 to $950. Not a book for the faint hearted! Those are first edition prices I think- reprints are available from wiesshaar for a measly $300 or so.
  4. Hi Alan- Can you further describe Devereau's tension bar? Or better yet, where can I see a photo or illustration? (I have an old violin with a dowel running between the blocks, much like Alex is describing, & wonder just what it is). Thanks, Ron.
  5. Looks like those f-holes were butchered sometime in the past, possibly to make one look like the other, which may have been broken out. Also, does the high placement of the ff's furnish any clues to date or place? Ron.
  6. I agree, Andre, regarding the possibility of it being a transitional neck. Do you guys remember the pic I posted of my "baroque"? It has a straight neck, ramped fingerboard, very short bassbar, & HAS to be more than 150 yrs old (my est.), yet you took the wind out of my sails by pretty much dismissing it as anything special. I still wonder what it really is, etc. I guess that should be another thread if anyone would care to theorize on it. Ron.
  7. Quote: If replaced with a modern FB, there would be too little clearance from the belly so, if you are seeing this on an old fiddle, perhaps it really is early, typically late 17thC but also up to first half 18thC after which transitional necks came more into fashion. Glenn- I believe that if the ramped part of a baroque fb was removed, a modern fb couldn't even be installed- the top plate would prevent it from being installed on the straight neck. Andre can probably confirm/dispell this assumption. Ron.
  8. It all has to do with selection. A concentration of similar shops works well for most "one-of-a-kind" articles. People like to comparison-shop. It's a win-win situation for the shops & the shoppers. (unless, in the case of contemporary instruments, they would represent the same line, or the same maker's instruments).
  9. Continuing on... A possible explanation is that French is the predominant (or close to it) language in Quebec. Ron.
  10. Quote: It's strange that they have used the word "ebenisterie d'art" instead of "luthier", a very French word.
  11. This is actually a salesman's model which illustrates the capabilities of the "Rambo Sound-post Setter" which was discussed in an earlier thread. Ron.
  12. Do you know which part of the country/world the estate was where the wood came from? There was a maker in my area who died about 68 years ago, who made his instruments from wood two to three hundred years old (at that time). Ron.
  13. Quote: ...and then steam it out using a little hot iron (if I can find it, I'll use the iron for heating up to shrink the mylar covering I used for R/C model airplanes). Seth- if you're not successful in locating your old iron, there's a nice alternative out there- fabric & quilting stores sell a small hand-held iron that has a sole-plate about the size of your thumb. I think they run about $20. Yours is probably the larger sealing type- about 2 1/2 to 3 inches long & 1 to 1 1/4 inches wide? Ron.
  14. I wondered why a recent buyer sent me a personal check in payment that had nothing on it except her name, check no., & bank routing no. No address, driver's license no., phone no., etc., etc. She apparently has a special checking account just for eBay purchases. Ron.
  15. Out of curiosity, what is the (approximate) price range for real aligator cases. I saw what appeared to be a genuine 'gator case along with a violin on eBay awhile ago & wondered.. Ron.
  16. I agree- art & geometry can be (and should be, in the case of violin-making) achieved together. The "inhumanly "cold"ness, in my opinion, is what is further achieved with the use of sandpaper. Ron.
  17. Was it in Minneapolis? That's "fairly" close to Chicago.
  18. O.K.,it's only a woodcarving, but... http://mysite.verizon.net/maunesha/
  19. If it's Joseph Joachim, it's not a very good likeness- although Joachim did have a full beard & mustache. I have one with a carved head of Joachim.
  20. I'm not qualified to even speculate what it may be, but even though the pictures are awful, that shot of the f-hole/c-bout reveals what appears to be a very nicely made instrument. Some better pics might entice some expert observations.
  21. TSENGLO- Is that your "Cigni Ficant Other"?
  22. I tried to trace, or verify a package (U S Postal Service) that was sent to me, after it didn't arrive as expected. All they could tell me, by the number the seller furnished me, was that the seller did mail a package on the date indicated. There was no way to know what the package was, or even where it had been sent to. The package arrived about 3 weeks after it had been sent. Ron.
  23. Dean- I would appreciate the sharpening instructions. Do you use innies or outies? Looks like I'll change some of these to outies. I tried them again today, & they definitely tend to want to dig too deep, & then to split-out the wood. Ron.
  24. Thanks, Manfio- I have a Dick catalogue here somewhere, so will look into ordering sharpening stones from them, & will probably convert some of the gouges in my set to out-cannel. Ron.
  25. Wouldn't a table saw with a fine-cutting blade, such as a veneer blade actually work better than a band-saw? I would think it would make a smoother & straighter cut. Ron
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