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Ron1

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Everything posted by Ron1

  1. John- the numbers aren't completely arbitrary, but neither are they entirely mathematically accurate. They should suffice though- I just figured my simplistic approach might be used more easily, even if not quite as accurately as a "real" formula.
  2. Ron1

    Rude tool names

    Sex bolts are two-piece devices, one half being a threaded "male" screw; the other half being a threaded "female" sleeve. Used to join/hold pieces together when disassembly & reassembly is a consideration. No joke.
  3. Ron1

    Bow-maker I.D.

    Thanks for the reply, fiddle collector. I assume "Alain" is a somewhat common first name? Ron.
  4. Ron1

    Rude tool names

    ...and then there's "sex bolts"...
  5. In order to be more accurate, & not have to look endlessly for the right sized pipes, perhaps having some proper sized forms turned by a machinist would be a possibility. Ron.
  6. Seth- I arrived at the following by very unscientific methods (sorry jm), but the EXACT curve or sweep is not critical anyway. You can calculate the diameter of a pipe (form) for a particular gouge as follows: Multiply the desired gouge width by: For 6 sweep by 1.857; For 7 sweep by 1.667; For 8 sweep by 1.143; For 9 sweep by 1.048; For 11 sweep by 1.000 Example: For a 12mm gouge with a 7 sweep, 12 x 1.667= 20.004mm diameter pipe form. Hope this helps. Ron.
  7. Ron1

    Bow-maker I.D.

    Do any of you bow afficionados recognize a stamped maker's name (partially legible): "Al??? Goubaud" ? If so, when he was active, & if his work is of any particular merit? Ron.
  8. I think the "juke-box" playing violin you made reference to might be the "Adrianola". It was invented & manufactured by a Mr. Adrian- I don't recall his first name. He had two or three different models in his tavern, "Adrian's Indian Echos", near Montello, Wisconsin, which also housed his extensive native American artifact collection. I remember playing the machines in the '60's. they were definitely "juke-boxey". Ron.
  9. Ron1

    Pollen collector

    I can see it now- a couple of centuries in the future, one of your violins will hang in the Smithsonian, labled the Manfio "Ali". An accompanying note explaining that the maker said it produced music that "floats like a butterfly, and stings like a bee".
  10. Another thing I've noticed, Andre, is that there are very noticable indentations & wear in the varnish from the bridge feet, about 10 - 12mm lower than the present bridge location between the ffhole notches- I've read that bridges were often set similarly in the old baroque set-up.
  11. Yes, it does seem as though the FB has been "re-done"- it's all one piece of wood, but I don't think ebony. I understand the wedge was usually a separate piece, with the ebony FB on top, because of the expense of ebony. One thing that points to original, is that it is definitely "mediocre"- the purfling is drawn-on; visible gouge marks all around the edge (especially on back). It has the short (125mm) neck, & short (225mm) bassbar. Notice how modern stringing has apparently caved-in the top over time.
  12. When I question eBay sellers who advertise a "baroque neck" on their obviously modern necked instruments, they speak vaguely about "transition periods" to explain the angled necks. I found & bought this one baroque violin on eBay (I don't think the seller suspected what it was), & have yet to talk to anyone who has ever even SEEN one, outside of a museum. Yet, I seem to be the only one that's excited about it! What gives? Am I mistaken about the uniqueness of this instrument? Or that it is even a genuine original baroque violin? I'd be interested in your observations and opinions. Thanks, Ron. baroque vs modern
  13. I second, or third the advice of getting at least a couple of appraisals (not necessarily formal) from established shops or luthiers. Then, assuming the instrument is not rare, I believe eBay to be a good venue to sell- the bidding competition generally ensures at least fair sale prices- lately, as attested to on this forum, auction sale prices seem to be on the high side.
  14. I'm an ex-Madisonian Michael- in Sun Prairie, about 10 miles north now.
  15. I just couldn't wait 'til 6:00. Sorry.
  16. My personal observations imbibe from experiences attributed to neither of the foregoing; rather, an extreme desire to examine those pre-existing sequences which have been extricated beyond the practical limits for which they were designed. No matter, the flow of wood being first observed by ancient loggers on their way to the mills down-river. Space here, being limited, allows none of the parameters required for ample exposure. Sorry for this "pared-down" version, but sincerely hope it clarifies the fundamental questions put forth.
  17. thanks Mike- I'm a little slow, but I'll get it yet. What do you think of the fiddle?
  18. Still trying to figure this image link stuff out: Cowboy Fiddle
  19. Here's the photo of the "Cowboy Fiddle" I tried, but failed to include with my previous post on this thread. I think it is a contender for the title. It was found in a Texas second-hand shop. Probably made during the long evenings in the bunkhouse. Complete with steer's head "scroll" and haired bow. Kinda neat, but I bid too low! [image]mysite.verizon.net/maunesha/[/image]
  20. Thanks Michael & Jacob- I think I understand your explanation , so hopefully, I'll be using that technology here soon.
  21. Can anyone help? I'm unable to attach files (images, etc.) to my posts here. I get a message that says an mp3 extension, or something like that, is needed?? Is it different than attaching files to e-mails? Thanks, Ron.
  22. Thanks Michael, for the very informative photo progress post. We beginners, and yet-to-begin-ers, form rather vague, fantasy-like ideas of the instrument-making process. This thread brings it into reality for us. It really is like Manfio says, sooner or later it comes down to just you and the wood.
  23. Michael- how about burnishing? Doesn't burnishing cause more density? Could there be any possibility that by burnishing the soft sprucewood top, it would produce a different (hopefully better/louder) sounding instrument? I know you guys hate these comments from us non-makers. Just supposin'.
  24. I don't have the article with me, but I think they were claiming the "ice-age" period was 50-150 (roughly) years prior to the time of the Amati's, Strad, etc. Anyway, plenty early to have produced mature trees. I can't buy the idea that instruments continue to improve in sound FOREVER. Do controlled comparisons of good old vs. good modern instruments show any positive results? There are certainly makers today whose workmanship is comparable to that of the old masters.
  25. This subject invariably comes up in various discussions, with no definitive answers in hundreds of years. What do you members think about the relatively recent findings & claims that a "mini ice-age" occurred in that part of the world just prior to the 'golden period', producing extremely fine tone-woods, which haven't been duplicated since? It sounds as feasible (or more-so) to me as other theories I've heard.
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