Jump to content
Maestronet Forums

nathan slobodkin

  • Posts

  • Joined

  • Last visited


About nathan slobodkin

  • Birthday 08/17/1954

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
    Bangor ME USA
  • Interests
    Violin and cello maker, repair ,restoration and dealer. Amateur forester

Recent Profile Visitors

10051 profile views

nathan slobodkin's Achievements


Enthusiast (5/5)

  1. Repairing a violin does not make one a violin restorer any more than delivering a baby makes one an obstetrician. While there are exceptions to every rule can’t think of anyone I have ever met whom I would call a luthier or violin repairer who was not trained to some extent and no one with any training could possibly do the repairs shown by the OP.
  2. Don’ know. I’m guessing a bit heavier , harder and resinous. Maybe even a bit difficult to glue.
  3. In North East US 2x4s are more likely to be fir not spruce. If you have access to some woods and a saw you could probably find a standing dead spruce which would provide enough blocks for a lifetime. Personally I prefer black willow (or red if you can get it) and $20 would buy enough for a couple of dozen sets of fiddle blocks with the linings
  4. Yeah. The bridge position is certainly more important than the lost wood. You would do yourself a favor by taking it to a competent violin maker to have a new bridge made in the correct position and which would not horrify your colleagues.
  5. Jackson, You obviously went to a better junior high than I did. Thank you!
  6. Strad O, Thanks very much for pointing me to the discussion of this in Weisshaar/Shipman. The variance from a radius which they recommend is exactly what my templates do and I guess came from the Wurlitzer shop to me via Hans Nebel and Rene Morel. I am still interested in hearing from other knowledgeable technicians as to their practice but am glad that this is not some thing I have been doing wrong for so many years! Also interested in hearing from professional players about their experience with this.
  7. Yes my template leaves the D a tiny bit higher than the fingerboard template would. Is there a reason from the players point that this would be more comfortable? When and why do you use a different string spacing? That is something I am particular about using Morel’s method of having equal distance between the strings and 34 mm between the centers of the G and E strings.
  8. How many people match the tops of the strings to a particular curve? I have always simply cut the bridge using a template then put notches for the strings 1/3 of the diameter deep and called it good. I don’t recall anyone ever having a problem with my bridges including some really first rate players. However following a discussion here about matching the bridge curve to the fingerboard I have started checking the tops of the strings with my fingerboard gauge and have discovered they really don’t match perfectly. First question; should they? Second question; do players really care? I can see a possibility that having particular strings slightly higher or lower in relation to others may actually be helpful and as said have simply used the templates which I used at Francais without questioning the reasons for them. Using the finger board template to determine the heights adds another step to making the bridge as the only way I can think of doing it would be to leave the center of the bridge slightly high until the last minute then adjust the strings and take the top of the bridge down until the notches are the right depth. This is quite the pain in the rear but if it mattered…..
  9. Which brings me to ask what the heck IS limonene? I have used it as a cleaner but never really thought of it as a solvent. Also it seems to mix with water at least to some degree. I have also used something called “orange oil” which seemed like a milder version of limonene. I am sure the complete chemistry is beyond me but the junior high version would be appreciated especially what it can be mixed with.
  10. As do turpentine. There are all kinds of solvents which all have differing abilities to dissolve or liquify your varnish as well as different effects on open time and drying. I have found that I have to modify the varnish(es) on a coat by coat basis according to how it is actually acting.
  11. I have never seen a label by Seitz but I have seen his name written in the bottom of the pegbox on a nice M'wald fiddle.
  12. Same. The dead white of new wood looks bad but exactly color matching interior repairs doesn't concern me.
  • Create New...