nathan slobodkin

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  1. Another thought on this issue if the appui is now 20 lowering it to 19 would certainly not be as much of a problem as the high pitch. By fixing the board and lowering the appui a bit I think you may get the pitch and bridge to acceptable hights. I am not familiar with the map of Virginia but can suggest looking up Oded Kishony and seeing if he is near enough to you that you can show it to him and see what he says.
  2. If your fingerboard measurements are taken at the edge then the situation can be helped by planing the board to normal specs. 7.5 mm all along the edge would be within parameters and at the same time the cross arch of the board could be checked and if needed on a French Strad model you could probably flatten the arch slightly without running in to bow clearance problems, Also could make sure the lengthwise scoop is no more than necessary. Anything over 85 on the overstand is asking for a variety of problems as well as accentuating the negative on what I presume is a somewhat brash sounding instrument to begin with.
  3. I usually make posts 6.3 with a tendency to go larger when the post is long, thinner when short. I have never found thinner or thicker posts to give consistent results and also wonder if any differences are caused by stiffness or by contact area with the plates. Perhaps people with more of a scientific and patient bent have experimented with this.
  4. Thanks to both of you. I will check Ehrhardt. I have it but didn't think to look there. Who is/was He anyway/
  5. Anyone know anything about Eureka brand or model violins or violas from Lyon and Healy made early 20th century? Got a call from someone who will be bringing one in and was hoping for some info so I can look smart. Are there Lyon and Healy catalogues available on line? I found a site which I think says they have catalogues but I can't seem to log in to it. Any help appreciated. Nate
  6. Andreus, Are you going to tell us the answer soon?
  7. Yes, I think so, although either method can work well. Hans Nebel once told me that Rembert Wurlitzer would recognize violins like some one spotting a familiar face in a crowd while Sacconi would take the same violin and analyze construction methods and details of workmanship and arrive at the same conclusion.
  8. Only if the measurements are pretty standard. Too many kids get sabotaged by instruments which are difficult to play.
  9. Just a slip of a tool on an otherwise nice purfling job.
  10. The kickbacks to teachers is a reprehensible blight on our profession. If the teachers had the courage to ask their students for an above board consulting fee then the teacher would be responsible only to the student and everybody would benefit with no change whatsoever to the economics.
  11. I am not remotely close to being a violin expert but when I look at an instrument my first question is "what is it meant to be? ". If I can establish that (which I most often can't) then I start looking at what I know of the details or idiosyncrasies of the suspected culprit.
  12. I have made a few Strad model cellos, many on J Guarneri which have the advantage of having just about every measurement come out dead center average of the many models I have measured and I have just started making a Rogeri pattern which I am also liking a lot. Strad patterns are harder for me to get the sound I want being a bit too simple without the growl in the bass which I think comes from a proportionally wider waist. I am with Manfio that the shorter and slightly wider cellos seem to work best and they also appeal to all sizes of player.
  13. Where did you get one year per inch to dry? I figure 1/4" per year which means 4-5 years for tops and backs and 10-12 for cello neck blocks. I think you can precarve scrolls/necks but could get significant twisting so I wouldn't take much off the sides of the neck root and as Brad says leave plenty of wood on the FB surface to allow for planing out the twist. Why such a hurry anyway? They are not all that much fun to make.
  14. No Info on the OP's label but a question along the same lines. Any one ever see a "Marconcini 1901" label? Looks like a decent or better MK violin of that time period. I have been told by a reliable source that this was a Roth but wondered if anyone else has seen this label used by them.
  15. Ben, Is this a Barak Norman? Do you think there were sculptors who were not VMs who made these things?